0} ) DECEMBERTo the more than 60 different type land size speakers and horn units Pee eA o UU Ud Re added. There is a RACON speaker and horn unit ideal for every con- IE ee uy ee Pee ee a plete line, but also the most pre- ferred line. For over 20 years leading PY hss ed fied them because of dependability, CUR er ae eo the reproducers are trouble proof. ASK YOUR JOBBER, OR - Write today for full detailsJohn H. Pots, Editor Sanford R. Cowan, Publisher Mombor sf fut ras of Creston. G. MeProud, Managing Editor S, L. Cahn, Ady. Director Lowrence LeKasiman, Ast. Edtor H.N. Reites, Adv. Mot Louisa 8. Dieser, Edt. Prod. Met. David Saltnan, Act. Prod. Ms. doar, Newnan, Che. Met. Anns, As. Cie. Mar ENG Editorial Advisory Board Representatives INEERING Heoiel A, Clit jou G Glow Tae. Covn 816 W, 56) Se Loy Angels 13, Cal Pal A. de Mere Dale nema Pablo, Lik cite London WT, Enend succenor fo RADIO |.P. Mexietd Ween tean George M. Nixon 997 Swanston St, Melbourne: Youns White ET Nicona’Avaecha Evubohed 1917 CONTENTS DECEMBER, 1947 Vol 31, No. 11 Editor's Report 2 Letters 3 Broadcasting Studio Sound Reinforcement Howard A. Chinn and Robert B. Monroe Noise Modulation in Recording Emory 6. Cooh....esecsesscsseees “ Review of Present Status of Magnetic Recording Theory, Part II” W, Wetzd 12 Two-Way Speaker System, Part HC. G. MeProud.. 7 Notes on Wide-Range Reproduetion—7..N. A. Hate 19 Impedance Matching 0. L. Angevine, J 20 Musical Acoustics, Part VII -Benjamin F. Tilon 23 Record Revue Bartram Starligh 27 Experimental Noise Suppressor Cireuit—Charles D. Cole 28 New Products 30 ‘Technicana: Fremodyne Circuit, Optimum Filter Termination, Voltage Regulators. 32 Advertising Index 40 COVER ILLUSTRATION Master Control Board, WNBC. [AUDIO ENGINEERING tite rgatered US. Pat. 08 asshanatin by Radio Megson ne, J. Patt AUDIO ENGINEERING DECEMBER, 1947 1EDITOR'S REPORT MORE ABOUT NOISE SUPPRESSORS @ JOHN D. GOODELL, whose excellent article on the Seott Noise Suppressor appeared in the November issue of this magazine, has written in asking us to inform our readers that the model 910A dynamic noise suppressor for browdeast station use is mant- factured only by Hermon Hosmer Seott. Since the article did not so state, he has asked us to give this point special emphasis. A letter from Goodell on this subject is published in our “Letters” column, The simpler six-tube version, also described in Goodell’s article, is manufactured by Goodell under license from Scott and forms a part of amplifiers and other radio apparatus produced by the Goodell organization. Goodell adds that he is now using a GBS input tube in the six-tube version, replacing the 6SQ7 shown in his original diagram. “A revised diagram will appear next month, Complete details on the experimental noise sup- pressor developed by the General Engineering dlepart- ment of the American Broadeasting Company have just been received, so we are publishing the sehematic diagram showing all parts values in this issue, See page 28. This is the noise suppressor deseribed by John D. Colvin of ABC at the recent convention of the National Association of Broadeasters in Atlantic City. It is based on fundamental circuits developed by Dr. Harry D, Olson of RCA, which been published elsewhere, but this is the first practical working model with parts values to appear in any magazine. A complete article on this noise suppressor, by Charles D. Cole of the American Broadeasting Company, is scheduled for our January issue, already ‘THE MUCH-MALIGNED AUDIO TRANSFORMER @ONE of the most prevalent erroneous ideas is that resistance-coupled audio amplifiers make pos: sible far better reproduetion than ean be obtained by using audio transformers for the purpose, In fact, some engineers who really ought to know better dream of output tubes of such low output impedance that they may be coupled directly to loudspeaker voice coils, thus eliminating the output transformer. But if wwe keep in mind that @ radio receiver is hut one link in a circuit which starts at the broadeasting microphone, the possible degree of improvement which may be effected in this manner becomes very small indeed, es pecially if the program is being picked up from some 2 remote point. Most broudeast-type microphones em- ploy coupling transformers to the preamplifiers which, in turn, are coupled by line transformers to voltage and power amplifiers, thenee, again by transformers, to the transmitter output tubes. In the course of its peregrinations, itis not unusual for a broadeast signal to wander through possibly two hundred audio trans- formers before it eventually arrives, in demodulated form, at the input to the audio amplifier of a radio receiver. Thus, whether we use or do not use two or three more audio transformers in the amplifier it ean make no appreciable difference in the ultimate repro- duction, Of course, the audio transformers used must be good—at least as good as those used in the broadeast system amplifiers—otherwise the fidelity of reproduction must suifer. But with good transformers, there ean be no perceptible advantage insofar as fidelity of reproduction is eonverned by substituting some other means of coupling. Resistance coupling is cheaper, of course, but not so reliable; otherwise the telephone companies would most. certainly not invest in expensive transformers. And for those ap- plivations of audio amplifiers in whieh the audio signal is fed directly from a phonograph pickup, mierophone, or other form of trunsdueer, we doubt if anyone ean hhear the slight inevitable distortion present in good transformers. If we could, then the cumulative effect of the number used in broadeasting would make even the Lest radio program unbearable. WITH OUR AUTHORS @OUR Record Revue department has been taken over this month by Bertram Stanleigh, who will be a regular contributor hereafter, sharing space with Edward Tatnall Canby. Mr. Canby couldn't make the deadline this month, but his excellent column will continue rogularly in the future... Winston Wells is recovering from a long siege of illness and will shortly resume his series on the design of elvetronie organs . 8. Young White will be back next month with another of his outstanding articles on ultrasoneis ... George Nixon of the National Broadeasting Company has just completed an excellent article which is now being leared for publication... Dr. Wetzel has finished his last instalment of his series oi magnetic tape recording theory, which will appear next month and a Merry Chtistmas and Happy New Year from all of us to all of you. HT. P. AUDIO ENGINEERING DECEMBER, 1947Why You TRANSFORMER PROBLEMS After receiving the frst few issues of Your new magazine, TL anust say that 1 Ipeliove you are serving a wach neglcted field, in a highly alequste manner Now that the audio engineer has heen Aliguifed hy a specialize publiation, which vill tend to drave the members of |p the field together, is it not time for him to have an organization of his own? T have in mind an association similar in fonction and pause to the LR. B anl SAI, P, Fi their respective fills | | T will be glad to correspond with any fone interest in thi natter Frank E, Sherry, Yecwiee* | ADC TRANSFORMERS What do our renters think? Scott Noise Suppressor YOUR problem involving selection or design si of the right transformer for your equipment nthe Dyramie Noe Suppressor Gan beat be solved a¢ ADC. article which appeared in your November . rere ok trate Engineers at ADC are able to farnish you then ata ar ir with the finest transformers available today. version of these nits seas included, but Tailed to desiynate the manufacturer Here are a few good reasons why: ‘Our organization manafuetures dhe Dynanuie Nese Suppressor incorporated in the Goodell Rai Phonograph atul the ae Cae a eee plifer. ‘The latter is licensed only for idea of making higher quality transformers than exelusively hy Hermon Hosmer Seott, your transformer problems. lose The Minnerots Electonics Corporation Paul, Minn ‘To maintain their leadership in the design of transformers and other audio components, the ‘ADC engineering staff is continually engaged in research=-designing, testing and redesigning. “The bulk of ADC's business is building trans- formers to meet new and unusual requirements. Sir Years of this specialized experience have made Tn the Technieana Section of the Vee ADE engineers tops in the feld. Today these tober, EMT ise, there are ertors in the men are advisers and suppliers to leading Ame thinl parigraph of your suinuary of ‘an electronic equipment manufacturers. ny paper. "Decay Rates of Piano Tones, Correct ADC takes pride in the reputation ofits prod- ucts, Fach and every transformer leaving is fe- tory is thoroughly, tested. and inspected ‘est ‘heel pa chek a ADC aor apy com promine wi gua. ABC in prepared vo give fou the bestin design --- material». work: 1) The rate of deeay of conventional piteo tong is nl, as Jou have Impl, "depncent upon the setking fore 2) The deeuy mates of the eletroni Pian tones were howto he Friatively independent ofthe Cottage gain of the aemphiyiny aren, ther ah the! a WRITE for information, Include details of your irements. Also aveilable upon request Coto D.W. Matin Tague 46:R on ADC transformers and components. RCA Victor Aavaneed Acoustic Dev' Cimden, New Jeney panne Sir: | While on an assignment in w Nava | shiprard luring tie am, we nota a Te eed i Pe REO e eo rather weird “dead” area’near a stores ice eee RL dare ‘AUDIO ENGINEERING DECEMBER, 1947 3 ayEntirely New Design now brings you Hew FLEXIBILITY, Zee BEAUTY, Zee LOW COST Complete Adaptability Permits Widest Use in Public Address, Paging, Recording, Communications ‘The CENTURY series heralds 4 new ect of brilliantly engineered and superbly Syled low-cost microphones. Designed for utmost Rexibility, sis available 10 a choice of three generating elements cyst, dynamic, or carbon. Each provides excellent reproduction aad high ourpst. Exch gives you exclusive E-V quality fentures. Each is top value! Size is St 204" x17- Crystal model weighs aly 6 ounces, Highest purity diecast met- aT case, fished in lustrous eeay-beowa. The incomparable CENTURY can be mM used joa variety of ways, as shown, Ite the perfect answer for aif economical Installations. Ger full details sow! Seud for Bulletin No. 3? sx modern ectining Des srisei List Prive ‘Suspension Bracket. Hts peer Uist Price $ Auabereed Disribatrs Esrtcherd, HLECTRO-VOICE, INC, BUCHANAN, MICH. Expats 19 Eos 4th St. New York 16,8. US.A.—Ceblat Ala MOBIE og coumnicaion 4 AUDIO ENGINEERING DECEMBER, 1947Fig. fot Wis activity asthe operator has Be ‘A sound tcnforcement contol corso installed in the audience oe» of » CBS radio thestet nd knowledge of the desiee of eiforcement required andthe efeclivenst a all operating wasting Such a vantage point i highly deseble Broadcasting Studio Sound Reinforcement HOWARD A. CHINN’ ond ROBERT 8. MONROE** How special public address problems encountered in a broadcasting studio may be solved. LARGE broadcasting sto mi present ding te ection ol tarhese a yortne of te roman prover jetpetve, It thew etn tay ros another otataning pevornanee ling "fat in aion to onfrcig sounds oi nating of the stage of the broudeast stuslio, the sound reinforcement. system also serves other purposes. For tinple, by: means ofthe eviuipruent. the studio sud to hear those portions oft prograta na: originate from a remote point Another use of the sound reinforcenent ‘equipment iain achieving special eects ssh as the illsion of added oom rever- Lerntion, or the ereation of echo effects ‘lumbia Broadens "Chief Audio Engineer, "General Bnginering Dept,Cobumiia Broad neh of these functions of most be Kept in mind i Design Consideration A simple obtaining the program fe te equipmes system, veto! of ved for sounel Feinforeement is to. hridge the ound When this is done, the program reproveed on the soubd nelly the sume as that futgoine line. Such an while workable, leaves sive us all portions of th then reinforeed equally sound reinforcement is ob other hand, when only Of the prograsn ‘or ainplitier rat Tn leaving on the ich to be de- 1 program are More eflective tained, on the ici eould not othersise he easily heard are reproduced on the studio loudspeakers. As drehestra whieh can he liffeulty ie all parts of th not be reinforeed and to result in a jumbled, confu ance reaching the studio list ver, the voice of a feat Forining. with reinforce to be ensly he of the studio AUDIO ENGINEERING DECEMBER, 1947 un example, an heard without ie stadio need ‘lo 30. would ners, How singer per the orchestra should be in all pacts From the above discussion it ean be seen that sulisfactory sound reinforcement Fesuires & ferent mixing technique from that employed ia mixing. program material for the sual bvoadeast parpoee This is often accomplished by ep 1 seperate mnising console and oper for the specie pose of preparing the pprazeamn material for sound reinforee- tment and proper ill londspeake Methods Empl Tt is obvious that it is not practical, nor desiuble, to employ separate micro phones in the studio for sod reinforee Ient purposes. Its therefore necessary to detigi the autio srstem in such inanner thatthe output voltage from each of the studio mieropliones 1s available at hoth the regular miser ancl sound rein oreement mixer, A method of aceo plishing this, whieh has been in use by CUS for some tine, makes use ofa hridg- ing transformer ‘connected across. the output of each of the microphone pre- Tiainary amplifiers (je, head of the regular mnicer controls) as showin Fig. 2 Tire outputs of these transforsers provide the prograny feeds to the sound relntorce met iver controlling the over- rls theIn addition to supplying program foods to the sound reinforcement mixer from each microphone channel, similar feds should be provided from al other sources ae vor ro nccoran Of program material. For example, if program material js obtained from tran- scription tamtables or from incoming program loops, feeds to the sound reine Lo “aE | forcement mixer sould be erranged from these sources of program material tis by means of the program feeds from Incoming program loops that reprodue- a tion of program material from remote points is mae possible, 2, Progam feeds fom the studio console to en external sound reinforcement mixer may f Brideng pad nay be used instead of Ef abained oy meas os idgng onfores or blag ads Connie yoo We ek sisi elactoraca sau ascnapiin oot micophove Piminay angie thowe, hedges pads we wed seul prenae bridging, transformers, and accomplish Pont must be obsered a dicuned inthe te " comparable results at lower cost how= ever, due to the greater attenuation in the bridging pad, care must be taken that Tn thie way any of the program feeds the signal level through the sound mixing ™AY be connected to any desired mixer system does not fall below the original Position tierophone level if the greatest possible The most suitable location for the signal-to-noise ratio it desired, Another sound reinforcement mixing console mist precaution to be observed when bridging also be given careful consideration. One pads are emplayed isthe circuit grotnd- possible location i in the control roomn ing arrangement, If cireut grounds are immediately adiacent. to the regular made at more than one point in the mixing console. ‘This arrangement lias system, ifculty with ground currents been used in the past and has the advan~ and resultant Inn aul crostalke may be tage tat all equsnent is eentalied in encountered ‘the contro roon aid long. low-level audio It woul not be econonscaly justi- cable runs are not required Sul an fiable to include a soul reinforcement arrangement has one very serious ise mixer position for each of the program avlvantage; that isy the operator ust feeds, inasniuch as upwards of ten such depen on the stutio loulspeaker level foods may be involved. An inexpensive aljustients ade. before the progran and entirely “satisfactory method of commences and has no way of knowing simplifying these mixing facilities is Gvith the pessible exception of and ‘through the use of » smaller mixer panel, signals from an assistant inthe audience) four postions usually heing adequate for if the studio levels are satisfactory after averase installations; ‘each individual the program gts under way. In view of mixer control receiving program material this, itis generally desirable, despite the from a suitable selector such as a rotary additional cable runs involve, that the switch oF mechanically interlocked push sound reinforcement mixing. console be button with the required number of installed in the audience section of the positions, as illustrated in Figs, 3 and 4. stutio (ace Fig. 1) where the operator CBS studion, Fig. 3. A sound reinforcement mixing console of «type employed in seve The cicutaransement of his miner shown i Fig. 4°” The Tou miner con acon the lowerrow oth the mater aun conol othe este ah mmediaey Siner contol weight postion voary ny one of eight source to be connected tothe mixer conta Tey above he imate ain contol serve to connec hish-at iter We cieit. Ate top of the panel Tadenuotor located et te taht ofthe volume indents and volume contl for edo ina Readphone: monitoring level is at the left will have Grst-hand knowledge of the degree of reinforcement required and the immetiate result of all operating adjustiments, When this is done, suit. able communication (telephone or signal lights) should be provided between the sound reinforcement mixer and the con- trol room to permit the control room to notify the sound reinforcement operator if the loudspeaker levels are interfering with the air program. ‘There is another method of controlling sound reinforcement which, although exhibiting one of the shortcomings al- ready noted, has the advantage of ex: treme simplicity. In this method an sudditional aperator isnot required as the few controls involved may be mounted ‘on the regular mixer panel and handled by the control room operator In this metiod, sound reinforcement feats are obtained from each channel by nieans of a. suitable bridging device. Tin this ease, however, the bridging deviee is connected across the output of the regi Jer mixer controls. ‘The sound. rein- forcement feed thereby obtained thea passes through a suitable “ono?” switeh after whieh all feeds are combined by ‘means of a cliferential network. The output of the differential network con ects to the sound reinforrement am plifers in the usual nsanner ‘Operation of sul a aystem is extremely siuple. ‘The operator simply selets the cbannels to be einforeed by means of the individual channel "on-of""” switches ‘The level of each channel is, of course, « function of the adjustinents being wade fn the regular mixer control inasmuch as the sound reinforeement fee is obtained at the ouput of this control, The only other control involved is a sound reine foreement master volume contral which may be set prior to going on the ar. “The disadvantage of this metlod lies in the fuct that the operator, eing in the control roont, las no way of knowing the effectiveness of the sound reinforcement covenge after the program gets under ‘way. Furthermore, the halanee between the program elements being fed to the sound reinforcentent system is determined entirely by the requirements of the air 6 AUDIO ENGINEERING DECEMBER, 1947show. This will not necessarily be the ‘optimum balance for the soxind rein forcement service. Loudspeak ‘The loudspeaker placcment practices followed in miotion picture theater sound systems and theater public address work cannot be enployed in broadeast studio sound reinforcenient heeause of the fact that microphones are often set up in the audience section of the studio, In sonie ratlo theater pickups, the main orchestra microphone is suspended as far back as the forward edge of the fist. balcony. For this reason, no general rules can be set down concerning the nunber of loud- speakers to be employed or their place tment, a8 each particular installation prosonts specific problenss, In general, there are to different approaches to the problem of loudspeuker placement. ‘The first makes ise of sual number of loudspeaker units, us ually to (hut sometimes four) placed at each side of, and slightly forward af, the stage. This arrangement because of its siuplicity and effertiveness isin wide use at the present time. The second approseh to the loudspeaker placement problem makes use of a multiplicity of foudspeaker units which are uniformly distributed throughout the audience area ach loudspeaker unit is operated at relatively low lovel with ee result that the auditorium is Hterully flooded with sound although the level is not objec- Placement ‘arrangement ean be used to advantage in theaters where mezzanine and several lconies make coverage with a small number of speaker unite impractical Rooustic Feedback ‘One of the more serious difficulties ex- perienced in the operation of sind rein- forcement systems is the tendency of the system to “sing” as « result of acoustic coupling tween loudspeakers and mi- cropliones. This tendeney to sing can he reduce yy operating the loudspeakers at a reasonably low level ag itis not neces- saty to provide the studio audience with more than comfortable listening. level In audition to conservative operating levels, there are several design considers tions by means of whieh it is possible to reduce the tendeney of a. sound teine forcement system to sing. These design considerations ilu: 1) Loudspeaker units with sarp peaks in hei response frequency latadtertios Soul be avoided a the high pe ott Dist a€ these point often sii to fet the system into osiltion even if iS operating at a conservative. level, Leip ite th sua spon fosqueney charartvities usualy {Ssucist eith the mone contly uta, edie te tend sone ster 2) Inastauch 6 the greatest energy cone tent of averase voice aml spoccl ett In'the lower sui frequenties (below 400 eps) Ihe attenuation of ese fee ‘Quencler docs much ty redee the tem ey ofthe ster to sings furthernnt these frequetice ty” tos altemunted om ht ah ae ee Sass ee esta ay iar eeinnd ete he smn pte) el hn ‘Peta i ota te ona he ls smh ols nti fens eo ea acct re ley of 1 Wen op ee tama son yi ie tn Ea Great li enn ston Tanocinegety heaton tssiactccmien tena ee ty egg 0) Te nud Sen tye Stare fee te ag soe NE Viale a aplred Gnd are Peroncnnyecd SS ty Ste ‘he a gy oe cS pole nn He ge fd heey pr aaron ce a Scapa tesa fe cnet Mt fn ay a onahly high at any one point. “This Without stiusiy, reducing “the into. “ova Mel ae " His oF ropaiuetons Dae et {Continued om page 37 ar) ~ (f+) {8} (Bx}—= 10 ccsreaens Fig. 4. Simplifed block diastam ofthe ict aan pe inty be bidged scr any ore of he vate dh we provided. AUDIO ENGINEERING DECEMBER, 1947 jement ofthe sound reinforcement mixing console of Fa. 3. Four mize postions which he fat thet the tridsing vansfermers ae incomporated ‘J logement channels instead of the incoming progiom feeds rev in 8 saving of wansormess, inthe xNoise Modulation in Recording EMORY G. COOK Causes of noise modulation in disc recording and how they may be overcome UE PARTLY to the influence of the fn progran and partly to the com= petition of various new forms of sound recording, standards of perform- lance in the dise recording field are i proving rapidly. The newer British Phonograpit reconls, together with the fadvent of feedback recording heads, improved dise materials, shapes of styl, ete, have all served to make posible the use of wider runge reproducing playback facilites, However, widening. of frequency re sponse and improving of all fori of i tortion uncover fron tne to time certain residual “inherent” defects of systems, reoording of othervise, For example, the appearance not long ago of higher quality Toudspeakers: net with harsh words at first in soine quarters because when they were attached to existing gystems already in operation by- the customer they drew aside the curtain on all forms. of high frequency troublec ross-motulation, nondlnearity, and even parasitics, ‘The speaker itself was blamed. ‘These defects hut theretofore heen Inti in the titel greater shortcomings of the previous Toudspeaker or concealed by its limited frequeney response, oF hoth. In the same way, shortcomings of the established dise’ recording’ methods. are gradually being exposed. (ine of the mest glaring deficiencies in dise eevonting (whieh in cidentally has a certain parallel in ag netic wire of tape) is the matter of noise modulation. SCaak Lats, 159 Gordan Place, Flovel Park, BEM Introducing Noise Modulation Tt is @ matter of common Knowledge with experienced dise recorders that one of the prime essentials to the obtaining ‘of a quiet groove is the correct mounting in the eutter of the eutting stylus. The stylus set serew must of course come to reat directly upon the milled flat of the stylus shank in onler that the stylus he pointing straight ahead. Otherwise, the stylus will be twisted in the mounting and fa noisy ent will result, Yet a glance at Fig. 2 will show that operation at an angle of twist is exactiy what the stylus must do when engeaving a signal inthe groove When the stylus is at the point in the sine wave shown at (a) it has no way’ of Iknowing—as far as noise is concern that it isn't being operated in a send groove with twist (0) The common method of measuring residual or surface noise int ewer dive recording is to cut an unmodulated groove at the dianeter ad pn inli= fated, insert in the playback circuit a high-pass filter to remove ramble and Juni, atid observe the resultant. meter ruling referred to “zero.” Asa practical ‘matter the character ofthe sous thereby reproduce will be not unlike thermal agitation—random noise. But. inthis case the frequency spectrin of the noise issuch that about 70°¢ of the enenge con tent ies between 3,000-10,000 exeles (i wwe were to double the speed to 130 ryan for instance, and use an appropriate reproducing head, the upper lilt would fuaturally he extended). Tnfortanately this method of measurement is nt, neces: sarily a true ides of perfurmancetpt the stys and Inequer, $0 far as surface noise is concerned, for in a way sitalar to that of intermentulation between two differing programs frequencies, the actual reference hoise level ‘at measured by” the dead groove method above, ie modulating by the progeum itself. Unlike intermostulae tion, the noise modulation is up, Le, when a evele of program cones along, the noise in the sloping part of the groove is higher Usa it us In the unmodulated groove (see Fig. 1). The increase im noize may’ he in some way’ a function of the slope of the meadulstad groove (with ‘out regard for sign), but not necessarily 50. Te depends w Tot on the stylus itself ‘The actual value of noise moxlulation is conveniently expressed in decibels, andl is dlefined for the puepose of this discussion fas beg the sutnber of decibels txerease in vive obtained sien a 35° slope occurs in the modulated track (se Fig. 2) Liste Nov wore buttery chasing is being undertaken heve in Ube matter of noise Inodulation, ‘The writer is certainly not in the pnacess of waving eletully aloft a rte, mieroscopie, but otherwise utterly inconsequential specinien for examination hy fellow entomologists. Any impulse on the part of the rear to suspect §0 raust Fhe reconciled with the fact that “before axl after listener tests made with regu far styli and autinoise modulation styl are hurd to angue down. A “before and ‘ter elange 29 liege in proportion that it is plainly distinguishable to the un- trained ear stands out like a red nose in the measurements nd instruments se © \ wr ew jos - The lon, noiteianl tio memaad i the dend rove (ef i only represen Fig" igh. The two methods of setting uo to me vada 1h G) inj a embanansed tthe (Orlin ine of what actualy heppers in one pat ofthe 2c “dynamic (6) static” Atthe inten shown, the syios sone aie AUDIO ENGINEERING DECEMBER, 1947partment, and can handly be explained away any more easily Te has alrarly beow well establishes! in the art by numerous soarees working in diferent ways, that cross or intermodu- lation isa more neeuruteintex of listener reaction than annplitude or wave form Uistortion, Te often does happen in rep ‘lacing sound systems that the phenomena ‘which eause amplitude distortion also cause intermodulation at the same time and since distortion content Firat easier to measure, this was used 98 a standard of perfomance Just as intenmoslulation between fous program frequencies runs parallel to listener reaction in the ove Toad level department, 80 noise modu tion closely paralleld reaction in. the ratter of effective noise, Although a con clusive probe into the matter of listener reaction has not een concluded, enough information is nevertheless xt hand to warrant a few arbitrary statements eon- cemed with the subjert of the listening public vs, noise monilation wrivole paytnck ch pene fe lean” Rodttion i stea vstdual trouble Withany given a of ereumstances Ge, type St programy, rpm, ameter, nei tee ato high Hoque pe Einplass, Since it prodeos sharper sigs of prauve.exearson anh at respi nercases nse hie lation, althougi ierenees the na 3, When shellge prensngs orginally re= ort! wath na hh inaqaeney content ver 3000 evele are played ack into 2 pel to 0 xh Te resto given of distorted high fr fuentes. stein ests it easy to Hinagine tthe teoondes program. fontaine “components abv 3.000 even when such ie knoe ao ‘pe the egee. Movtulation of the bag slatnesurtane oe by te lower fqueney “sgnal produces this uso, Hhvinel wedo alters fashion have igh rquriey inter pr fontponen of rface yet nena ht Une we hak system ane being fron wn 4. The Ttener sevetin urinal asso fe with pain note perhaps tno fe it, moe mon For purposes of the present investiga tion aut arbitrary stylus Paclor of Merit is hoen devised whieh, although open for appropriate modification and change from time asthe demands, is nevertheless a signpost leads ing to an ultimate disposal of the problet. In onder to give an idea of the range of Factor of Merit values, tigures in the neighborhood of 1.0 are acceptable, 2.0 Fig, 3, Halleycleenvalops of noize modula: {Non obtained hom playing back tone groove ‘his ean exaggeratec cate, however, ond Fig Shows more typed! stylus is excellent, ane 0.5 ie very: poor. Obe viously, the relation is shaky ‘anv starts to breaks down for values of unmnontated groove noise level noisier than 43 db, ita Fortunately, that it is some what ea care ein ‘with 8 good. noise movtulation re if the tunmxluated xroove value demanded in the application is not £00 severe. It ie much easier, for stance, to ke a stylus with only 6 lly of noise 50 stylus than if itis a 60 db stylus Measurement The method of measurement sed to establish tle noise modulation figure for any given set of ciwumnstances may be of {ho fundamental types, statie and dynam ie. The static measurement is easy to take, amt as isso often the ense with easy things, is not particulaty reliahle IL onsits of tutning the stylus 35° away fon ite own axis rom the conventional position (Fig. 20), eutting an unmodu: lated groove, and observing the increase in nofse.hétween this groove ad an aljacont groove mae with the same Stvlus without twist, ‘The direetion of ovat ants e trea bath way's to. cor respond with the positive and negative ‘velocities of the eyele in the groove, ‘The Uineliahle feature of this measurement anpears to he that since the stylus is ‘operating vnder questionable conulitions when tivisted, the slightest inyperfecion in either itor the laequer will hang up 0m the leading edge ane! stay there inate reading, whereas in the inethorl the stylus ix contine ously modulated or eveled as it would be with prograt, ane particles whieh would Toe hung up uner the xtatie conulition are thrown off, The dynanie method of easement involves selecting a. fre tienes whieh when operated to fil the sroore ta eapsarity ‘will praure approx ‘slope as nieasared through ie, Nasal the frequency necessary’ to produce this slope will de- pend. upon the diameter ani the rpm, it, linear speed, of the yroove, Tt is nat stirprising that the sume stylus will show slightly diferent values of noise nontula~ tion at different linear speeds depending pwn the dinwensions of the various facet, tes! The frequency necessary to produoe the required ale will ordinaily be below 2,000 eves sr that in playing back the iovlulated (and noise modiated) kroove TTabel L. Capps, “Reconding Styl mie Lnduares, November 101, Fig, 4. Nolte modulation inthe sidewall isnot hard to with low power microscope ‘ahem the lighing 1 aansed propery. AUDIO ENGINEERING DECEMBER, 1947 9Review of the Present Status of Magnetic Recording Theory PART I IN PART I of this article we discussed the hysteresis loop tester and how eer- tain basic properties of magnetic ma- terials could be obtained from readings ‘on that instrument. We saw, as the result of demagnetizing forces, the resid= tua induetion in a recorded tape may be fexpected to deerease with decreased wavelength. Tt was further showa in a qualitative fashion that. the coercivity fof the magnetic material governs the Femanent induction at short and the Femanence governs the remanent indic- tion at long wavelengths. Part IL is designed to familiarize the readers with the current status of erase record snd reproduction theory. Work ers in the field are in general wgeoement fn how a recording is erased or repro- duced but there is disagreement on the mechanism operating during the process of recording withthe aid of a-e bias, Tis believed this disagreement is based on lack of appreciation of two factors: 1) the exceedingly complex magnetic history ‘of a particle as it traverses the gap, and 2) the profound alteration of the indue- Minnesota Mining & Mf Co., 900 Fauguier ‘Aon, St, Paul 8, Minn Fig, 1 (lef). Showing the chan 12 W. W. WETZEL* tion pieture which occurs when the do- magnetization forces are brought into play upon removal of the tape from the Fecording head. ‘The explanation offered here is based on tivo assurnptions whieh fre subject to criticism but which do have the merit of leading to results compatible with experiment, Tecause it is a controversial matter ore attention will be given to recording, than to wipe and reproduction theory, Erase ‘One of the outstanding advantages found in this form of recording isthe fact that the records may bo obliterated and reused without deterioration of ‘the medium, This process is known as mag netic wipe oF ertse. Obliteration of the recon! may be made with a d-e wipe in which the tape is Lrought to a magneti- cally saturated condition. ‘The dee wipe is required for systems employing dee bias fields to obtain linear recording. Tn some ceases, where the aaturation fell for the inateral is too high to permit the use of ae erase, a dee wipe with a permanent magnet is employed. When ao bias is used the recording rmovtium should enter the recording head In this series of three articles, Dr. Wetzel presents the first com- plete discussion of magnetic tape recording theory for engineers. in as neadly as possible a neutral state of magnetization. This condition may be obtained by two methods, ac wipe oF 8 two step dee wipe. Fig. 1 shows the reversed d-e wipe accomplished by the tpplieation of two se Selds. Starting from any state of magnetization “a” for the material, a constant or d-t field is applied by, ‘say, a permanent’ magnet ‘hich is sufcienty strong to more than saturate the material. ‘The application Of this field brings the magnetic state to point “®."" On removing the field. the State moves along the sabirated hysteresis Toop to point “e:" If following this a very revise negative fied Hy is applied the state moves to point “d." Upon removal of this nepative field the state changes along a minor loop to“ or the non-inag- netized ‘condition. While it is theorot jeally possible to attain perfect wiping in this fashion, the precise value of He required is difficult to produce in prac tice. A further objection to this type of wipe is that the neutral condition is not stable. The noise level tonds to increase ‘with mechanical working ofthe tape after 1 wipe of this kind. better form of obliteration whieh the sate of « magnetic material ducing» dc. arate, Figy 2 (igh. Diagramming the change in ute accom AUDIO ENGINEERING DECEMBER, 1947ean result in noise levels below those of any usual amplifier may be attained by fan ser wipe. This fora of erasure is stable in its final result ani practical to apply. It is the form now yenerlly enploved. Tt his been knoxn for long time that fervo-magnetie materials may he reduced to-a neutral state if a series of deeveasin fields alternating in sign are applied t0 the material. "The process is illustrated in Fig. 2. Ti the magnetic state is ori nally that at a," «positive field Ty is applied which is just suficient to brig the state to the apex *)” of the major Toop on whieh "a lies, This field is re moved and a stuller negative fick! Hy applied. Successively applied feds, de reusing in magnitude and alterneting in sot ES = agi sz Se 278 eo. ER : 8 > & 2 8 e & Sasp om B Sf =z ais = > p THE Zeon , pPz iig moog > fe? a Pigz soe MS ve 20 a the value of H corresponding to the highest value of recorded induction. However, it is generally ool practice to have teveral eyeles of the wipe Geld saturate the tape. This usrantees tht the wipe will inove overloaded recorded passat, tis sometitnes said that a high coercive force material is iffieult to wipe. Thi isnot in ayreenient with the best theory of erase. Tt should be stated as a Tater! with a igh saturation field (He, not 11) is diet to wipe. Figure 8a shows the ths distibution in the neightiochood of un erase head gap. A well designed erase head should saturate ut the pole tips, increasing the leakage flux from points tenote from the gap ‘The values of fy and 2 in the neighbor. AUDIO ENGINEERING DECEMBER, 1947 rere nant de elf tice ths eto icing hace cof own as taf "Te rd ae on oi ta cto fos or ‘Elton eons ayatose he hve eyo av as opm sol, "Bo tine tpl on 9 errs arta rg nals Stich ten to Cajon ve Moro Sa” Tse {ite ft sspemyoon oh an singe one of Sai sr char poeron Han ncn oth nti have ag yb he on ee toe ed She totus cole Gesu Seed nee sl nd ota Sig ent ae st Ser te toe than Be 35 cea mont ima oe sre nl Seer ac oir SNAPE tie. Recording. and ‘he Broadeast August 1941 Aillerent wavelenths. sleslotediom Fis 5. yadqduo NOILdIwDSEns 3| Za — Fig. 3 (lef Sketch showing the field dsibution near the gap of on eens head. Fis. 4 igh), Sketch showing the eld distibution near the 948 ground noise, No paper on the theory ff 4 bias applied to a saturated tape has feome to the author's attention. ‘The third method ‘which employs a magnetially neutral tape with a mixed ‘aio signal feld an ultrasonic bias field Tas been almost universally adopted since it result in a greater unuistorted siznal to tise ratio thin either ofthe above techs niques, Unfortunately no detailed ac- ovine of the theory has appeared whieh is completely. satisfying. ‘Toomin and Wildfeuer* have made studies of the behavior of minor hysteresis. loops superinpored on major loops and proposes an explanation hased on thei Findings for Hinear transfer characteristics in reconding, Holmes and Clark? point ‘out that certainly the audio fields and in many’ cases the bias fields have not been established for the number of eyeles Feauited to produce stabilized major and minor loops. They propese an explana tion in which the state of magnetization ‘of the mediunt is traced as the material passes across the gap and find it tohave fan induetion dependent to a large extent ‘of the maximum field encountered during the transit of the gap. “This explanation is the most satisfying published. One apparent objection is that the same remanent flux i found in many successive particles under certain conditions and renisnence is. therefore not w smoothly varying funetion of posi ton along the tape.* It will be shown that because of the profound alteration fof the flux distribution during demag- tietization many such ifregulartie in the initial fs istration wil be smoothed out, 41, Toomin and D. Wigfewer, “The ‘Mechanisa of "Supersonic Frequetcies as Applied to ‘Magwoiie Hecording,” Pre. leek, 'p. 664, November 194 4b. C. Holmes ang_D. L. Clark, “Super, annie Bias for Magnetic Recordiig.” Electronics, July 1945. 14 Stavecording head. To appreciate the complexity of the history of a magnetic particle as it passes dover the recording head suppose we refer toFig. 4. Sketch a" represents a recon! ing head with its gap and the assorted fell fringing out trom the gap. Tt is this fringing fied which is effective in netization ofthe tape as thetapenusses, say, fromletttorightacross the top of and in contact with the lead ‘The exciting coil eatrios current whieh is the sum of an audio and an ultrasonic component. “At any fistant the field fn aome one plane over the gap is shown, in Fig. 4 broken into. horizontal and vertical components. “For short dis. tances above the head the value of the Feld varies approximately as the inverse first power of the distance of this refer- fence ‘plane from the head. Superi posing the time variations of the fied, the space variations of the Bld, the to components of the fied to he considered andthe complex behavior of a fer riagnetic material in two dimensions, we begin to appreciate the difeulty. of tracing the particle's magnetic history. Tn onder to make progress in the ex- planation lets assume that as a particle traverses the gup, some process leaves 3 horizontal component er remanence which is proportional to the instantaneous value of the horizontal component of the field At some point in the gap. If this is true, wwe are able to explain the action of recording with a bias. It willbe shown, in fact, that this hypothesis is too de Por those interested in the details of his iment ae Fig, Batereace 3 ip {idle entering the map. between C8 should leave the gap with very newly the ‘Sine herizaatal Component of remanent fuss Thir ie trv sine the quarter eye of the fel! following Swill only exteud the pption of the minor loop Mf, 8. For all fralues of the quarter cyele above 2aro the Tenuncnet should te the sames Tor the Temainder of the quarter eyele Uke re tmanenoe wil be oalf slighty ls. tailed and that i i not necessary to have fa remanent fay exietly: propoitional to the instantaneous value of the field in one to obtain near output. “Before starting the explanation let us show how we obtain a curve whieh Holmes and Clark call the transfer char acteristic. If the loop tracer is. ealled into use, we may examine the major hysteresis loops fora given tape for certain maximum values of the GOevele field. If 4 family of curves is observed for values Of These between zero and saturation, wwe have information which allows us to plot the B, 17 eurvesshown in Fig. 3, From these curves, of whieh only” two are shown, ve read the remanent induction inthe tape to be expeeted when the field noes to zero from each value of Haag. This gives data from which to plot the transfer characteristic curve shown as Curve I inFig. 6, “Line aa’, Fig 5, represents a calculated demagnetization function for a certain ‘audio wave length on a tape, Its inter~ section with the lysteresis loops defines the maximum value of induction whieh a tape will support ata given wavelength for given impressed fields max ‘The value of B, at the intersections may’ he plotted against far to obtain Curve 2. ‘The audio signals applied to a tape may he expected to transfer according to Carve I for very long wavelengths and sacconing to curves of Type 2 for shorter wavelengths. While this is correct for (be bias, under the influence of ae bias this is not trie since the demagnetizing forces involved ure a combination of those for the a-e bias wavelength and the audio wavelength. The actual final transfer will be shown to deviate marked ly from such curves Tet us make the second assumption ‘required for the explanation and suppose that for long wavelengths the transfer characteristic curve Lefore demagnetiza- tion is Carve 1 of Fig. Since Curve 1 AUDIO ENGINEERING DECEMBER, 1947vu established on the basis of stabilized Inte in radio transmission.) We assume the zero value of the induction for each Inysteresis loops, this is not strictly eor- that, before removal from the recording of the original sinusoidal components rect, The true transfer curve mnist be head, the horizontal component of ine ‘The ial picture of the output induction ‘ne sinilar in shape but with somewhat duction in the tape is proportional to the is shown as a dashed line drawn though Tower B, values instantaneous value of the feld at some the zeros of each bits frequency oseilla. Suppose we hhorzow the type of illus- point in the yas and that the transfer tion in the output eure of Fig. 8 which, tration wed in obtaining input-output characteristic fea eurve of Type 1, Pip. 6. fr simplicity, ts not show the smal curvesforrudiotubes. Letusplottheinput We proceed in the conventional juanner superimposed’ osilations. at_ bias re- ultrasonic fel asinst time on the vere to trace the output induction shown as quency. Teis seen that the effet ofthe ‘ical axis and in the usual fashion trace thesolid curve on the Maxis ofFig.8. This a-c bits superimproe on the audio seal the outpat induction as a funetion of solid curve shows the eouition of in- is to impress mn the tape a reproduction time on the horizontal axis. This ap- duction to he expected n'a tape which of the audio signal in tes of indueton, proach is illustrated in Fig. 7. So long lias passed the gas but has not heen The effect of the bias is to remove the as the tape sin contact with the recom subjecte to demagnativing forees Ly frst nonlinear portion of the. transfer ing head, the dasved output curve ree reioval from the feu. slaracteriti eatve sents the horizontal component of in- ‘The question of what happens upon Although the small bias frequency ox duction, pon removal fromthe head, moving’ ‘te magnetized tape past the illations superimpose! on the aio ove Doles will form on the tape and the asso- head mae answered qualitatively by unimportant practically. site they. ve ciated demagnetizing forces wil reduce considering the two sets of enignetixing subject to further studing ston i the the induction toa value indicated by the forees introdiwel. One set of forces Is tepfoduetion s¢stent air] at any rate solid output, curve. Ths remanent attributable to the pales assoriated with would never be head there eestence ution on the tape will he that which the bias frequency istebntion of flax ean be used to sulstantite in par. the would lave resulta aul we used a trans- and the secon sot ie connected with the assumptions. om which we have proceeded, fer characteristic derived from the inter average ofthe bias wavelength pes and Tf the output of a tape un which a low section of some line ei with the hyster niay he attributed to the audio wave- audio frequency hat heen ‘een Te sis loops of Fig. 5. The slope of od? length ‘examined “in an silloseope, the bias 's presumed to he calculated from the As a starting point in the explanation frequency osilations. may Ve. seen demagnetization constant for the bias suppose we conser one bias trequeney Since the output of «pickup is the de: ‘wavelength, “With uo audio signal on osellation of the recoeled induction a, —rivative of the induction in the tape, the Hel oul the bias feld 6 (Fig. 8) for a very long wavelength of hiss oscillations of reatest ampliuude adjusted to reach the neighborhood ‘of qudio signal. The oscillation a,b, wich are found near the zeros of the eutput the init of the linear portion of the oceurvat the point of maximum induction wave and disappear near the peak, transfer characteristic, it is seen that for the audio output atl therefore at This is exactly the position in ‘whieh ly very Tow amplitude induction of the point of zero demagnetizing force for tvaulation noise is expected to reach a vis impresses on the the long wavelength, may be eonsilered nuxinun value, eo the picture inthe tape, as the sim of a dhe component and a scope is sometimes attributed. to that Tm seconting with the tse of ave bias, sinusoidal component of iuuctio. “The fori of noise. ‘The sweep frequeney is the bis current and audio current are only demagnetizing force to he considered adjusted to the audio value antl the i addled in te coil of the recording head. is that of the poles associated with the regular position of the bias frequency pipe ‘This results in the applications of fields sinusoidal conponent. The equilrium does resemble the picture random noise to the tape whieh are proportional tothe whieh will he- established between in- \ secon experimental cheek may be had ‘sunt of the instantaneous values of the duction and poles for the sinusoidal com- by recording a low-frequency tone oh & Tian “anda ‘The wave jonent will be that expocted from the tape running at high speed. If this tape form (of such an “input” field is ills transfer characteristic eurve constructed is played back ata considerably lover trated in Fig. 8. (It is noted that the for the bias frequency. This requires speed and the output examined on an bias fel isnot mowiulated hy the audio that the overall induction change to the audio wave analyzer, the bias frequency frequency fel as. carrier wave is modu pieture of very small oscillation about appears in the output at the expected rte characteris in obuining th out induction forthe bis field, Fig. 8 ahd. Showing the com ote apa db hye ane den ite et 8. AUDIO ENGINEERING DECEMBER, 1947 15new frequency with an amplitude which is Tamzer the greater the value of the ro cored audio amplitide. This increase in unplitude ie what would he expected if the slenagnetization of the bias com- ponent of induction takes place according to the transfer characteristic curve for the ins frequen ‘We huave seen that at low frequencies where dlenagnetizing forces of the audio pole istration can he neglected. the transier characteristie euree does not presiet the correct outyt directly. A transfer characteristie having something Fes than half the Zi yalues of Curve 1, Fig. 6. twist be wed if the conventional ‘yansfer procedure is employes where the peaks of the input field are used to trace ‘the output induction, For short audio wavelengths we must take into arcount the deniagnetizing foree due to the pole distribution asso- ciated with the auto wavelength. This results in a further reduction in, the avplitule of the remanent fux. Two seeneral procedures may’ be followed i obtaining the final answer, We may either calculate the transfer on the basis fof Carve 1, Fig. and apply successively the denusgnetiztion calculations for the bias, then the audio wavelength, oF we may start with a transfer charteteristie Curve 2, Fig. i contains the de- magnetization elfeet for the audio waver length it in the sane manner as was used for Tong wavelengths, These two procedures lead to eseentially the same results for the audio frequeney induction. The first method renuls in x bias ripple am- plitude which in indepenrtent of the audio wavelength, The second method would Jead to. ripply amplitude which decreases in auuio wavelength. "An experimental test of theamplitude of the bia frequeney futput as a funetion of the audio fre quency recorded tends to support the first method of correcting for the two Fig, 9, Mating cn the tape and ar esaciated lave that treads the pickup col. Fig 10 sight. Showing tl demagnetizing forces, ‘Theoretically the first_method of correction is the more satisfactory, We conclude that, while the simple picture of slengnetieation outlined in Part T apnlies directly to recording with dhe bias, the picture in the ease of ace bias, used either with de or ae wipe, is romplicated hy the introduction of the bias demagnetization forves. ‘The fact that strong. demagnetizing forces are associated ith the bias frequeney, and that the renauent induction undergoes profound alteration under thei influen teases the reiirements of our first as tion. Te is seen to be the mechanism assined in the Rap pro- duces a smoothly v duction before demagnetization. What is required is that the mean value of the \vetion over one evele of the bias fre fqueney’ he proportional to the value of the audio field, Reproduct As we have seen, tape after leaving. the reeorling head caries with it a value of renianent induction which from point to point is proportional to the audio Sigal impressed on it. After leaving the head, fluy lines threading the tape ex tablish return paths through the air whieh fare maintained until the tape is brought into the neighborhood of other permeahle inaterial oF the tape flux is altered by Th Fig, 9a, a tape is shown on which a sine wave has been reconied. Lines fof induction in the tape and return flux through the air are shown sehemati- cally has heen made to iistrate the stall fax cireuits which represent the recorded bias frequenry since these are not important in repro- ‘uetion theory. Fig. 9 shows the redistribution of flux which oceurs for one position of the playback head in contact with the tape, Fix whieh normally lth a recording EB Ehicency The te placings hishpemeiiy hed op the tape i Sicloncy af eprodeciy ead ar fochon af Feguene AUDIO ENGINEERING found a retuim path throngs the air is redistributed through the low permea hility core of the reproducing head and threads the pickup coil, A voltage will he developed in the pickup coil whieh proportional to the time rate of elange of the fx threading the eoil. For waver lengths long. compared with the gap width, the amount of flux” by-passed {rough the coli eswntialy equal to the induction crossing a plane, such as oF , Fig. 90, cutting the tape at the enter of the gap. As the tape moves across the Treads it is easly seen that the output voltage developed. is. proportional to the mite of change of induction in the tape sander the sup. ‘An interesting elfect, whieh results in periodic reuetion of the. reproucing head output, is seen if one examines the flux distribution as the wavelength be- comes increasingly shorter with respect to the ap wilh. Tt may’ he shown that with decreasing wavelengths some flux lines find the air path tobe that of least reluctance, These lines co not thread the coil and represent 1 voltage lose in the pickup. This loss Increases up to the point where the wave length equals the gap wideh where the futnnit- of the heal falls to 2010. The fall’ to zero output occurs at each fre= ‘queney for which the gap width is an integral number of wavelengths, with partial reeovery of pickup efcieney for Intermediate wavelengths. qualita. tive plot of the efieney of the reproduce hhead as a fonetion of frequeney is shown in Fig. 10. The decrease in efcioney for suecesive peaks ofthe curve is du to the increase in the ratio of the core reluctance to that of the decreasing air paths’ lengths, as the wavelength shortens, “This short diseussion of the effects of sap width suggests that decrease in ‘gap opening tends to inerease the hi frequeney output. This is true up to the [Continued on page 37] ney. J DECEMBER, 1947. Two-Way Speaker System CG, McPROUD* PART Il structions for making the high-fre- ‘queney hor were presented, togetler witht a iisewssion of the elements of bwoaway system and the choice of a speaker unit suitable for use with asystem designed for a crossover frequency of ‘900 eps. Sinee it 8 obvious that a two- way system requires two separate speak fers, properly coordinated into a single unit and working as one sound souree, the low-frequeney section must also be provided in onder forthe coniplete nystem to he capable of covering the entice audio range. Tt is the purpose of this artile to describe a suitale low-frequency speaker housing, together with the choioe of the speaker itself Tt will he remembered from the fist article that the two-way loudspeaker eon sists of a highefrequeney unit and horn, a low-frequency sheaker and a suitable enclose for it ana dividing network to channel the correct frequencies to. the two sections of the system. There is nothing new ahout the system being des ceribed! similar arrangements have heen fon the market for vears. The original theatre systems were single-unit devices, with a. disphraguictype driver being attached toa long exponential horn. ‘These speakers were faiely autisfactory, considering the remainder of the sound equipment. “However, with continval improvement of the reconting and repro ducing equipment, the need was felt for better loudspeakers, and the wide-range aysterh made its appearance. Without tracing the evolution of speakers, let it be sid that the present high-quality speaker systems are almost without exception dual-unit devises, Since these systems fares capable throughout. the entire frequency range, sinaller systems em- ploying a similar design have also lecome popular for better reproduction inthe hhome and in reconling and Broadeast monitor rooms. The smaller systems were sealed down in physical size, at sacrifice of power hailing capacity and the lower frequeney register, However, they are still the most copable systems available, and the main deterrent to their more wide neceptance has heen the cost anv the space require While the space requirements cannot beappreciahly reduced, Ue eost i subject I ‘THE previous article of thisseries, in- “Managing Baier, AUDIO ENGINEERING The second of three articles describing the design and construction of an excellent two-way speaker system. to considerale reduetion provided the equipment may he assembled, svithout too much trouble, by the ultimate user Obviously, both the bigh-fequeney unit and the low-frequeney speaker should be ppurcussed froma reputable manufacturer, since it would he folly to try to make then, Uowever, the high ean be constructed without. to0 mil special equipment, and the low-frequency hae ean he built by anyone who ean handle weodworking tools with any de- sree of proficieney The Low-Frequency Sect -freqeney hor “The low-frequency section of « two- way aystem may consist ofa folded horn, plain baffe, aa infinite haf, some form fof acoustic labyrinth, enclosure. While the best. performance fan usually he obtained by the use of some form of folded horn, there is some ‘question as to whether the response be- ‘ven about 400 and 900 eps is satisfar- tory, sinee the upper frequencies passed hy the low-frequency speaker are re «quired to traverse the turns in the horn, land soie loss may he expected in that region. or teilexed “The flat bale is the simplest arrange rent, but iti eleicient in the very low register, even if it heeomes of large dimen sions. ‘The infinite baffle, such as. the wall of « room with the’ speaker itself being in another room, or in an attic, is reasonably satisfactory, and is prefered to the plain baile ‘The acoustic labyrinth type of speaker requires a lot of complicated design and construction, and it is doubtful if itis any better than a eabinet form of mount Fig 1. Cues indi éeling’ Speaker Impedance obsined SPrmenremet ot "of on ampliter ph setnctens, eampower output eben A represents eve of speaker Beek esbinet, shome Ins" cect of ‘cone felononce, 8 repre: te cure of speak AUDIO ENGINEERING DECEMBER, 1947 ing, provided some means is taken to re= duce the elfect of cone resonanee. Some speakers are suited for mounting ina completely enelosed cabinet of smaller slimensions than normal, with th stifness of the enclose ir serving as the damping For overcall tise, considering the space reauite, the radiation effcieney of the speaker at low frequencies and the ex temal appearance—which nist he eon sidered ness the user ig a. Mchelor— make the reflexed cabinet a logval choice, Tt should not be assed that this is the ideal speaker housing for the reproduction of low frequencies, hut eon dering. the compromises that must be tale occasionally, it has certain advan- tages. or these reasons, the low-frequency speaker selected for nse with the two-way system deseribed here is of the reflexet type, of a size consistent with the speaker selected Reflesed Cabinet Design ‘The design of a suitable refloxet cabinet “equires the postession of eon Siderally more information ‘thas iss ually available to the constructor, besides requiring a knowledge of the besie princ- ples of acousties and the methods of faleulating acoustic complinnee, mass, and a variety of other charattetisties Among this data that inust be at hand is the resonauce frequency of the loude speaker cone, and in only a very few it stances is this figure available from the manufacturer without considerable trouble On account of this, a much simpler empirical method of determining. the Ha i Hh 7size of © cabinot is suggested. This method is based on the plisical size of the speaker, and while it may be far from the classical method of designing a box, itis slight improvement over one method employed in the design of an carly commercial speaker enclosure, ‘The engineerin charge of this design admitted that the box was as big as he could make itand sill get it into the buck of his sedan, Unfortunately, this particular box was not sufficiently large, and the over-all rosult of the deviee was to introduce peak in the response at about 70 eps, but Jn spite of that, the speaker was better than any others then available “The empirical methor is based on the following figures: Use a box which has a volume in cubic feet which is numerically equal to the nominal radius ofthe speaker in inches, Thus. using this method, a 15.inch speaker requires « cabinet volume ‘of 75 cubie feet, his i not too fay from ‘ reasonable proportion, as has boen de- termined by experinient. The port area iselainued by good designers to he equal to the actual radiating area of the cone, which is somewhat less than that ealew” Tated from the nominal diameter of the speaker. For example, a certain 15-inch speaker requires a 181Gineh hole for mounting, but the actual diameter of the onieal section of the cone itself is only 1224 inches, Thus the sugeested. port area ahonld he 125 square inches. Experi rents have indicate that this is some ‘what too large for the average speaker dani enclosure, so resorting to an enpiieal formula again, the part opening may’ be taken as 0.8 tues the area of the loud speaker opening, to allow for adjustient to the optimum size Fis, 2 Intemal bracing of heavy Plywoed cabinet Grad for lowes uency. speaker Aioint should be ‘slued, “ond sembly should ‘made with Woodscrews Tater thon nal Back'm se be thoroughly braced’ and ould have ade fonte numberof Soe to hold tecurely te prevent bation While the design of a suitable box may be done by means of « mumnber of eon- pleated formulas, the final result—as with anything in the audio feld—is how i sounds when completed. Therefore, hhaving decided upon a reasonable port size, itis much simpler to make the box and then experiment with the output until the result is satisfactory. This may he done hy simple experimentation with the bos, an anplifier, and an audio os cillator, ina metho tobe deseribed iter. "The reflex cabinet serves prineipally to inerease the radiation of a loudspeaker at Frequencies lielow those where Ht nor anally Toses its effcieney. A secondary reason for the box is to alleviate the effets of cone resonance, whielt normally ‘cents ab a frequeney where itis objee- tionable, If the increase impedance at resonance ean be corrected hy the design of the eabinet, the response is sure to be Detter in that region, Resonance Effects The effeet“of speaker resonance man fests itself as an inerease in impedance at the resonant frequeney. While this init- suis not particulary important trodes fare used in the output stage, it makes a considerable difference when pentoces oF Team tubes are used, unless there ix a suficient atnount of inverse feedback to Mablize the output impedance of the anpplifer. If a curve of the impedance of a speaker is made with an opentck tabinet, it will be found that it resembles that shown in Fig. 1. Such a curve exn he made hy measiring the gain of a bheam-power or pentoe amplifier with the speaker as the termination, and eovering the Irequeaey range from about 30 eps to at least 00 eps, ‘The impedance of the speaker affects the gain of the output stage, and consoquently the aia-fre- fauency curve represents the variations ia impedance. Fig, 3. Typical commercial form of two indy spetke! system employing seperate Woh. Gnd ISweteguency speaker. Conbuction of Fin similar to these es described mance fn “the November Be When the back is put on @ ported cabinet, the gain-frequeney curve ex Iibits two peaks, one above the resonant frequency, and’ one below. Optimum restlts are obtained when the two peake fre of equal amplitude, as shown at (B) in Fig. 1. The relative amplitue of the two peal ean be varied by ehanging the size of the port, and the port opening Should be so arranged that the to peaks are equal, With this in mind, itis seen that the entire speaker enclosure may be con Stnicted with a number of empirical formulas, and then by changing the size ofthe part to obtain the correct response curve, the optinuin performance ean be dbtained. From a. construction stand. point, it is advisable to make the port Fomevlat larger than the anticipated final size, so that the effective opening can be reduced by the use of xn additional piece of woot mounted inside the cabinet Ay good 12 oF 1inch speakermay be used. with tis aystem. In onler to Simplify the dividing network, itis neve sry that the impelanoe of the low-fre- ‘quency speaker Ie § olin, since that is the impedance of the high-frequeney unit selected for use with thisaystem, While itis possible ta design a dividing netyork hich ll feed two speakers of differing impetanees, it is muck simpler to select 4 lovelrequency speaker of the correct jipedance inthe frst plac Suitable speakers for this purpose are Jensen PIZ-N and PIS-N ig 12- and 1S.inch sizes, or:the PAULI in the 18: inc size, although the lattor is quite ex- pensive.” The General Hleetric Type 1201C isan excellent 12-inch speaker and CCinasicagraph 12- and 1S-inch speakers of the piblic adress type are suital Another extivinely efficent speaker for this purpose is the Altee-Lansing Model S03, which is used in their Mfodel $00 ‘ovo.way aystem, However, any of the speakers listed wil give satisiucory re silts, provided the enclosure is designed to work with them. Several manufucturers also make suit-Able reflex enclosures, and oue of these may. be used instead of going to the trouble of making the housing. How- ver, in order to obtain the best results, the housing selectad shoul! be one which is intended for use with the particular speaker chosen for the aysten. C et Construction The aetual contruction of the eabinet presents no particular problems. Con Sdering, for exaniple, an enclosure for a S-inch syeaker, itis desired to have a uine of approxinately 7.5 eubie feet. ‘The cabinet proportions required to make an over-all stricture whieh is pleasing to the eve are such that the height must be approximately 15 to 1.6 times the width, Since the upper section must contain the high-frequeney. horn and unit, the top 10 ineliee of the entire speaker nist be deducted from the total height in ealeu- lating the possible size of the enclosure itself, Thus, assuming a7 Subic foot box the net proportions of the enclosure may well be approsinsately 1:2:234, and from, this proportionality the aetual dimensions of the bos ean be determined. Allowing ‘ssl thieknest of one inch, Uhe outside of the bos for a 15-inch speaker arrives 8 size whieh is approximately 16 x 20x35, The construction should be as solid sit is possible to make it within practical limits. "Three-quarter oF soven-oighth inch fiveply is suitable, and while some- ‘what diffenlt to obtain under present conditions, i recommended for the ene closure, If the plywood panels are as- sombled with glue and wood screws and braced with steel angle brackets on the edges of sides and front, it will be suf ciently sturdy. It is a good plan ta ine stall a 2x2 hrace through the canter of the box from side to side, making it detach able s0 the speaker may be mounted. Such a dotachable brace, however, must be solid when in place, and heavy bolts shoul be used for attaching it “The back eover for the box should be arranged to be uttached with heavy wood serews, and should preferably he braced with two pieces of 1x2 mounted edgewise, running from top to bottom. Figure & shows the suggested bracing for the en- tire cabinet. -Aiter the box is completed, it should be sven a coat of shellac on the inside fand then lined with a sound absorbent ‘material. Rock’ wool blankoting. of inch thickness is especially desirable for this purpose, but if it is not really ob- tainable, the box may be Hned with twa thieknesees of Ovte, the palling inaterial used under rugs. ‘This material should bo glued to the cabinet, and tacked with lange-hoaded nails at six-inch intervals, Sufficient clearance should be left around the speaker opening to pernit is installa tion direetly against the front of the cabinet, and sinoe the port opening isnot yt determined finally, it is suggeated that the space between the bottom of the port and the bottom of the front panel be left uncovered, TBefore mounting the speaker, a circle of expanded metal shoutd be obtained for installation in front af it as a protection ‘against damage to the cone. ‘The speaker is best mounted with "T” qute on the outside, using 10-24 serows through the speaker frame and the front of the eabi- rt. This type of mounting permits the removal of the speaker, whenever de- sired, with the greatest ease. When the speaker is in place, with a suitable lead gstending throu the ort the ack may Adjusting the Port Assuming that the port has been eut in’ reotangular shape with an area of approximately 0S times the speaker open- ing, the speaker is connected to an am- plifier and a gain-froqueney eurve made. ‘Assuming also that the amplifier i at UContinted om page $51 Notes on Wide-Range Reproduction IFI HEAS. BEEN some, conte Terrorist aa ott ies Mii‘ tigh ey nao an second reprodtion, Varios fas be Bean unde on lm and sal groupe {Stan aol a oils aaa of coe Sons ine been das fom dedi ob tained, Te appewe that mich of the Soparet tiny etveen the de ‘erp conic be ras by there thant of the vets have" ovoiad tudor in tie tate ‘his factor of te utmost portance fd (ge temo “aden Ate tor “Andence Oljeive™_ Why te tey tng ald hey nnt 2 feng and wit cy ot waa Wea, deen tines? Cidentat Listening "Tin ronplenster_of “Audience Atte” can usaly be spled hy ivan a tone ito to. up “nest Ltenerg” any creating few word to ingly te pve fom ot theamatve dna “Cental ten tm” Chena ttn mith ee teil an that Kin! of ining ich certr al ental tention se on the “Fieetronie Hollywood ier, SLA N. Lalolla Ave, J..N. A. HAWKINS* program terial, A distractions are extrancons and are rliseouruse. Ine dental Tstening is quite different from cidental listening. ‘The incidental listener is primarily doing something else, rather than listening to the progr material ‘The musi, for example, provides only a Dackground for some other activity. and mental attention is focused away’ from ‘the progrann itslt, At this point it might be well to detor- mine suitable definition for "High Fidelity.” It ie suggested that an ideal definition might. he that high-idelity um material that whieh eannot be {old from the original, A useful working definition must be commercially realizable and thus may be something less than absolute perfection. ‘This working lfini- tion can he expected to chunge as the art progresses, but, for purposes of diseus- Sion, a very good 1047 system might be deseribeit ax follows: With inierophone ‘wo hom gain about zero (acoustically), the transient and steay-stato freqione’ re- sponses should he within 3 db of each other, and ncither enrve should depart more than 10 db from the 1,000eps transmission over the range from 80 to 8,000 eps. Over this sume region the over AUDIO ENGINEERING DECEMBER, 1947 all reverberation tne should not vary by. 4 factor larger than three. Baskground noise in the absence of program material Should be 50 dl below masiuain desired level; noise in the presence of programm ‘material may rise to 30 db below programa. ‘material on Toul passages without being. fbjectionable. AL maxima level the 60/1,000 eps intermodulation distortion ‘may reach 0 per een, providad the ithe hhanmonie distortion, "(400/2,000 eps), foes not exceed 0.3 per vont. "At all out put levels more thant 10 db below maxie foun the intermodulation distortion should be below 10 per eent an the fifth. hharmonie listortion below 0.1 percent. It is probable that many will consider the aystem deseribed uhove as only medium fility. ‘The answer to. that objection is that probably fewer than 200 homes in the world Ihave anything aay better, no advertise rulio recsivers ean possibly equal it, and few broaleast sta- tion monitors even ajmmoach it. Tt could te realized today hy ating about $20 to the vost an $100 to the price of the ‘average $20) FA console receiver. ‘Therefore, with a slefnition of high fidelity at hand, debatable oF not, let us [Continued on page $5] 19Impedance Matching (©. L. ANGEVINE, JR* First of a series for beginners in the sound engineering field. fone of the most misused expressions in the technical literature. For example, as applied to the sesign of a found distribution system, the term is ‘used to signify matching (a) for maxima power, (0) for lowest distortion, (¢) for a desired division of power Letween loud speakers, and (d) forthe proper termina tion of transisission line to prevent echoes oF reflections. Por each of these applications, the word “matching” im- plies something diferent, but often the tem: is used as if it were the same thing. This discussion of impedance matehing distinguishes between these various mean ings and. considers each separately Examples of situations frequently en- countered in sound distribution systems fare used For illustrating purposes Ai TERM “impedance mateling” is Matching at the Ampi Input Matehing microphones to the input of ‘an amplifier usually means that the impedance of the sowree connected to the input of the amplifier should have the value for which the amplifier was de- signed. ‘Vor example, if an amplifier has rated source impedance of 30 ohms, then the source to connect to the aipli- “Chisf Sound guipment Engineer, Strom ero Larlon Co., Rochester 3, N.Y fier should have an impedance of 30 oluus ‘This does not mean that. the internal input impedance of the amplifier is 30 chins. Tn fact in most typical amplifier designs, the actual internal inpat impel lance of the amplifier will be considerably higher than its cated source impedance. ‘This is nothing to worry shout, however: the amplifier manufacturer has said that he wants 30 olms connected to the input of lis amplifies, therefore, the ampliier will operate properly if it isso terminated. Unfortunately, another factor confuses the issue. A mierophone manufacturer ray rate his microphone as having «30> flan impodanee. When actually measured, the microphone my have at impedance of pesbaps 40 ols, Miero- phones are often rated for impedance in emis of poptlarly accepted values and not by the actual impedanee of the miero- phone. An inypedanee mismatch of two to one will nat usually cause serious trouble with the frequency response and will make only a sight difference in over. all gun; thus the 40-olun mierophone will work with the 30-olan amplifier. Hf there ig a transformer within the microphone housing oF in the amplifier, serious inpedanee mismatching may re- sult in loss of either highe-frequeney or low-frequency response. For example, fig. 1A. (tor) Impedance che Artes of typ fal cone speaker, a. TB" eect ob y 2 tmlier “on ‘peeve of Ses Thonn im Figs. Ae Connected #9 “mpliter with out Regs, sme ion higher thor sted” for eiginal B “Connected to soliter with it voltage. regu tion lower thon hed” for” eviinal meseuromentsC. Miaximum change Chinot exceed the change fa the am plier oupet vol 20 consider a 300-0hm microphone con nected to an amplifer having an input transformer and designed for a S0-oh source impedance. Th this ease the low frequencies may be attenuated appreci- ably, since the transformer was designed to Nave the correct frequency response when working from 30 olimis. If this amplifier as a high intemal input in petlanee, the output level from a 300-ohm microphone will be 10-db higher than the loval of an equivalent 30-chm niin phone, which would be an advantage i the frequeney response of te amplifier ‘wore not impair, Power Gain When the power gain of an amplifier is computed, it takes into ueeount the eect of the actual input impedance. As stated, ‘most amplifiers have an input impedance higher than the rated souree impedance If the source were working into @ matel- ing impedance, the voltage across this matching impeslance would be one-half of the open circuit voltage of the source. However, when working into a typical tmplifier, the actual input impedance of the amplifier will be high enough so that, very nearly full open-circuit voltage wl be obtained from the source. ‘These two extremes represent a 6b change in the available voltage output of the source Amplifiers are rated for gain by compar ing the actual output of the amplifier to the power that the source would deliver toa matching resistance. Since the input voltage to the amplifier may be as mich fas 6 db higher than the voltage across this matching resistance, as mich as 6 db may be included in the gain ofthe anxpli- fier which js due entirely to the fact that the amplifier’ input impedance is higher than its rated source impedance. ‘The justification for this is that if the amplifier is connected toa mierophone fan speaker, a certain output will result from a given acoustical input. Te does hot matter whether the gain which pro- ‘duces this ontput is entirely tube gain oF whether part of it results from having a high input impedance in the amplifier. In fact, by just connecting a mieroplone fand a Speaker, it would be impossible to tell whetier the gain was tube gain oF resulting from the highcimpedance input. “Thisexplaine why a high input inpatance is commonly used for amplifiers—as nich 5 6 dh extra gain is obtained. AUDIO ENGINEERING DECEMBER, 1947Matching the Amplifier Output At the output of the amplifier, the ‘manufacturer invlieates the value of load impelance which he desires connected to given output tap. This impedance is selected to give the masini power out put from the amplifier at the rated total hharmonie distortion, This is not the value of impertanee to be used in ole to obtain the maxinnum power output. Some other value of impedance will probably give a igher output power when the aniplifier is driven heyont rating and distortion is dlisted. ‘This. point is. frequently confused eeause it is commonly known that the masini power ie drawn from a circuit when the circuit is loaded with & resistance equal to its own resistance ‘This is matching for maximum power However, maximum poser is not always the criterion for matching. Most ampli- tr aes for oul ingedance approximately to. apwl one-all tin tie intemal output inypeance of the amplifier and are designed so that sehen this load impedance is connected, nani rnnun “undistorted” power wil be seeured from the annplifier. “Undistorte” in the soul istribution ease usually means 37 rns. distortion, Table T shows what happens, ina tspical ease if loa resistances of tive co rect value, twice this value, and hall this value are connected to at simpli. It is apparent feom the table that shen the amplifier eannot be matches properly iy Tetter to connect a higher load itmpestance than a Tower laa inpestanes Iealso shows that even a tineto-one nse hucteh does nut affect the output as serinsy ax might be expocte Tn many cases, speakers nay: he sssitehor on anil aff Ue output of an nuplifier. When all of the speakers are ‘onneeted in parallel, the lead impedance hunt he equal to or slihths tove than the rated Jul inipedance, As the speak fers are disconnected, if the amplifier is ‘operated within ratings, there will be no inerease in distortion apparent in the re- anaining speakers, and if the eutpat volt ge regulation of the anuplifer is low, no apparent change in level acts, Fo determine the power into any speaker, there is a very simple. rule Divide the rated loud impedance of the output tap by the rated. inmpelanee of that speaker (or the tap on the speaker trunsforiner). "This is the fraction of the total power output of the amplifier sle- liverel to that speaker, For example, # a [.000-ohm speaker is connected tow 500- chm output tap, that speaker will draw one-half of the power delivered hy the amplifier. Thus, by proper selection of loudspeaker impedance, different amounts of power ean he delivered to « number of speakers, all connected in parallel tothe ‘sae amplifier. ‘The rule applies equally well whether the speakers ate all con= nectail to the same output tap, of if they 4 lon, Per tle. Tanenistlon auivalent for 10 Over broadcast ange fad eft wish tal Bh ena Sere Sa a ‘are connectal to several diferent-imped- the speakers connected! in parallel does tnce tae, The su ofall these factions aot exceed the aspifer rating. “The ist of total amplifier output poster should, of mate sn this aystem ie when the total sours, be equal t0 one for the best power drawn by the speakers equals the tatehing 1 the idee a avai arpier rat taps co aot permit perfect matching, he tasecking Loudspeakers sam ould peferly bes Cn eT swe th sone nish a cst the amplifier output will not affect the see cing in in FeCENt guplier output too seriously, but. the ‘years an is emote in eneren Eee eee ete St rota: his etl 3 eo Staudard distbation voltage (he outpat a ag Zollage of the properly lord amples). ge a ee a ie kere Speakers (or the tape on, the speaker Wi be connected. He knows that the twansformers) are then rated notin obi iternal out inipedanceof most arnplic tut in the watt they wil draw fom ths for wil he les than the setual impedance standart distribution voltage. ‘The Remilletes than te actual ne KALA, proposal gives 707 vols as one” ‘je actual intemal output impedance standard distribution voltage. The taps ofan ample ns computed to ts ruled Guspeaker truormers would be marked 92,48, ample compared go ts ated M34 1,2-4,8- ete wate Ta thie lege ration, Ties be expend tem, speaker matching is as ensy as eon- 9 the number of decibels the output necting light bulhs to a 110-wlt- power yoltage wll increase when the proper loud Hine. ‘The only precaution nevessay isto jmpetane is removed und the output it the sue thatthe total power dean by all left on open erat. ‘Thies the maxim TABLE! Effect of Load Impedance on Amplifier Output and Distortion ‘Load Resistance ‘Total Harmonic Gonnected to 800-ohm Output Distortion at 400 eps Output Power (A) Cpt voltage ad eotel stings held constant) 0 chins, Be rma 522 watts 1,000 shia 0 cms. 250 watts 350 ohms 1B eam 243 watts 1B) Input voliage varied to secure raxinuin output st 5% distortion) ‘00 ohms ens 822 watts 1.900 ohms ae, 225 watts 250 ohne 5% rms 10 watts (Data taten on production sample 2-vatt Sromberg-Carlon AU-48 Amplier) AUDIO ENGINEERING DECEMBER, 1947 achange in level toe expected as speakers fre switched on and off the a ppt. The equation i Outputstioge repulation in db = Output Impedance 20 tone 1+ ee For an output-altage regulation of 3 db, this equation gives a ratio of output impedance to load. impedance. of Svo- fifths, ‘Six db means that the output impedance and the Toad impeance are ‘equal, Thus the lower the output-voltage- reulation figure, the lower the output impedance "The impedance of coe loudspeaker is ‘function of frequency ax shown in Fig 1 "The rated value of speaker impestance is umually about equa to Ue acta pede lance in the 400-1000 dover meh of the freq Itnpedance ofthe speaker is considerably Higher than the rated impedance In the yast it dns been common practice to measure. the frequency te sponse of loudspeakers fom a 28ro- ypedance eource (ie. zero voltage res- lation). "The speaker may be measured ting. any value of couree. impedance pected by’ the speaker, manufacturer. Tr any ease itis obvious that ifthe ont= put impodence of the sinplifer ‘difers realy from he source impeance se a ensuring the speaker response, the speaker will have a frequency response ‘when connected to the amplifier diferent from the response obtained by measure- ment on the speaker alone. Since speak- rs for sound distribution systems are de- Sune to work from a low impeance— ‘usually less than the nominal impedance of the speaker—an amplifier to drive a speaker must have a low ontput-woltage regulation (Fe. low output impedance) to give the expected performance. If the ‘output-voltage regulation of the amplifier is high, the baas and treble response of th speaker will be exaggerated—but never by more than the output-voltage regula tion of the amplifier in decibel, as shown in Fig. 1 Likewise, itis not advisable to connect many speakers in series, At euch fre- quency, the inpelanee of the individual speakers will he slightly diferent, and thus the voltage drop across each speaker il vary. This will put more variations into the frequeney” response, Oceasion- ally, however, there may be some reason for connecting 3 or 4 speakers in series, dif they are all alike, the results will be satisfactory. One of the requirements to secure good results at the speaker is the proper ehoice of a speaker transformer, To have a good TABLE Wire Gauge Data Wire Gauge 4ohms Some se i ‘Amplifier Output Taps 6am aso ohms Ben ohms iske “30 60 Te Too Fe 000 Fe 2 2h RC ORE ooo F200 FE. 0 Sore bore | Bore amo RL 00 FE is fore BP Gore 2500 FL BOW Fe ie Goee OR, FE Stoo ht. Gao Fe 1 ARE RO FE foo Fe 200 FL 10000 F ues Roane TABLE UL Ratio of Load Impedance to Hine Resistance 7 25 a 8 6 “The maximus Joss occurs when the souroe is zero impelance. frequency response, the transformer must Ihave a good frequency response. To have low distortion, the transformer should not ereate dlistortios eal sound dis- tribution teansformers have a frequency response that is flat within 3 db between To and 10,000 eps. The power-handling capacity of transfonuers, however, de- creases as the frequency is reduced, ‘Therefore, to (or more) ratings are gen- erally proviled for these. transforers, For example, the Strombers-Carlson ‘0 can carry 5 watts above 70 eps or 10, watts above 100 eps. The IXT-10 can handle 15 watts above 70 eps or 25 watts above 100 eps. These transformers have high ete transformer is only 1 dh. Speaker transformers should be de- signed with high primary Te large numberof transforn primary inductance are connected. in Parallel, the net effect i «low-impedance foaud on the amplifier at low frequencies. ‘This may overioad the amplifier at low frequencies, producing distortion; and of course it will always reduce the low-fe- ‘quency response, uot just forthe speakers using the poor transformers but for the ‘whole speaker distribution syste. ‘The use of speaker transformer with a poor low-frequeney response is nol a good way to provide attenuation of the frequen below the eut-fi of a horn speaker. ‘The fopen circuit primary reactance at the Towest frequency of transiuission should beat least 2 or 3 tines the rated primary impedance with the secondary properly Toate. Matching Lines all ofthe care that A. T. and T. bestows ‘upon ite Tonglistanee trunks, and ip Ihetween are moderatelength lines whiob require an intermediate engineering approach, In the short line, the only problem is the lost due to the resistance of the line ‘Table TL gives the msinvim length of various wire sizes and load resistances to keeep the masini line loss Tess than one dh. ‘To convert this table to 34 db loss, divide the length oflineby 2. Multiplying line length by 2 converts the table to 2 db fous. For very. short lines, the loss is independent of frequency. Another use ‘eaide is given in Table {11 ‘The very long, transmission fine has x eharueterstio impedance.” This is the impedance meastred across. the two terminals of «very long length of the line. Tr is necessary to terminate the line at each end in an impedance equal to this characteristic impedance. Failure to do 0 will reault in echoes or reflections from the terminations which will garble the program being transmitted. Further, (Continual on page 37) AUDIO ENGINEERING DECEMBER, 1947MUSICAL ACOUSTICS BENJAMIN F. TILLSON* PART VII X PART VI attention fis already Deen directed to. the vatiation in width of cut grooves berause of the angular relationship of the direction of stylus travel to the plane face of its cutting oilze Unless it were practical to maintain a constant orientation of the eutter to the direction of its track’ ab any instant, oF unless revolving milling cutters. were practical, this appeuts to he w funda rental disadvantage of all cut groves, Deewuse the two hounting walls ust then be offset, not parallel, carves Exeeph ashen such walls ave distorted by pressure, no reproducing stylus of circular crosssection can make sinulta- neous contact with both walls sles i travels in an oscillatory ananner normal to the dise surface and Its a cong uration whieh will offer diferenthy iz rmensioned sections to the groove, Such oscillations must ocer tee in ‘every fundamental wavelength, #0 they ‘encourage second harmonies ancl higher even-nnmbered. harmonies where shock fr inertia are associated with tt Fig. 5 shows an exaggerated fori of fet inflected eurves, and the maximum diameters of eiveles sich ean pase he- fovoen then, The offset of the wi ont side curves is twice that of each con ponent channel, but the larger channel will pass a circle wore than twice the diameter of those whiel will passthrough its component channels, ‘There is also ‘difference in the angles whieh the con fact, diameters make to path of travel, “The statenrent connonly appears that commercial records have abrasive fillers to grind the stylus to.a shape whiek will fit the groove. Sueh grinding may’ permit 4 large tip radius of a needle to Hottom in a groove eventually. But how ean it he made to fit between non-parallel walls at all points? "Snel: ean he done only by destroying the original eut form Of those walls with en associated loss of the message they bore; or else by a pres sure distortion of those Walls whiel may not then center the reproducing stylus 5 was centered the rutting stylus, ‘The abrasion of the tip will destroy its spler- jeal form and civeular cross-section whieh, by displacement vertical to the dise sur face, might otherwise permit hearing ‘against loth walls of the groove. ‘Consuling Brgincer, Montelair, NJ AUDIO ENGINEERING DECEMBER, 1947 This isthe seventh of series of axticles on music theory, written especially for sound engineers Consequently, lateral-cut recon prob- ably have 2 stylus bearing against only fone wall of the groove at any instant, Tf the outor wall guides the reproducing stylus on its rise np a sound wave, the inner wall will direct its drop. "At each cevest and valley there must be a change ‘over from otter to inner groove walls, fand vice versa. Such must he points of vibrational shoe whieh will wlso occur tivice every wavelength. ‘This makes four uniformly spaced uarmonie distarh- ances per wavelength; and. they are probably of a nature that would originate higher harmonies and unharmonie “clang” tones. ‘The nature of these switehing paths i illsteated in Fig. &. ‘The arrows show direction of travel of econ ing and reproducing stylus, Tn that figure the original soul eurve of the centerline of the lateral-eut styls is marked A. One of the stylus eees futs the off wallenrve 8, whieh a cireularsection reproducing stylus must follow. And the curve C, trace by the eonter line of the reprodicing stylus, represents what ean be reprodiced from the recon, Curve @ ean be seen to sliverse from the original curve A. ‘The former's rulli of curvature are” much shorter in the valleys, and longer above the erests; 50 the two hil eveles aie no longer the sume in uniformity, andl that means distorted modulation, Just as will he shown for vertiealout recoril trucking in Part VILE, there i phase displacement of winpliitles heeatse Fig. 5 Maximim: diam ster OF” cheles ‘thin Ofelia Feces "Gove iS. Grows slching pats Fa 7. Seete the point of contact (tangency) of the reprovlucing stylus fs notin the line ofits axis, or of that of the cutting stylus originally where the hearing ie aguinst only oue wall of the genove, Value of Coordinates ‘The equation of the reproduced curve is entively. ton complicated ta expres here, but the value of its coordinates can he given in terns of a prototype sine leurve: y=a sin be he cutting stylus merely lowers that curve « distange sown the Y-axis equal to ouechalf the cutter width, keeping the new X-axis parallel to the original X= axis, ‘The lower wall of the groove is then represented hy “the sine curve uma sin bry. The tangent to the sine feurve at any contact point 21 equals the ‘rt derivative diy, =ab ene bay The cirwnlar exoss-seetion of the plays Dack stylus has a radius r and its center traces the path of the reproduced tone, Its rats nonnal to the tangent makes fan angle 0 to the V-usis, which is equal to the angle # which the tangent makes ta the X-axis. Calling the coortinate of the center 22, vo when the circle ix tangent to the groove at point 2, in, the following relationships hold. aeazoy 7 sin © aul ymin +7 608 @ Ste Fig 7 In these equations & amplitude 2/ and amFrom trigonometry we know that tan 0 1 aro oh cot Theor sn 0-75 9 oat Tay 1 auleos0 =p a Peat oa iy inspection of the Giguce it will be seen that the canter of the cirle is at all times above the track on whieh it rests, 0 that always ya = v1 +r eo 0. But the center of the cirele is sometimes to the lett ofits tangent point, and some- fines it is to the right. Tn the former cease x2 = 21-7 ain 0, and in the latter ease 29 = 2) +1 sin. Bearing these conditions in mind we ‘ean determine the coordinates of the tice of the center of the reproducing stylis as follows: and eo = 9 1 cos an FyTee Poe be sinter tyT peor cats we ‘The falsity ofthe reproduced path also causes a variation in the velocity oft reproducing stylus, alone that path which is not in accord with the velocities of the cutting stylus. ‘The cutting styl thas V-shaped seals uted angle of 90° but only at the erest and at the valley, or at some nearby points if itis pitehed at @ clearauve angle not norinl to the unmmodulated sound track, will the sound groove it euts have the same angle of trough. ‘The face of the cutting stylus varies in its orientation to the path of i tele aoe cet dead Fig. © Record srooves and the fects of Saviour sty: Seetex 24 the sound track; and if we call such angle @, also the angle of the cutting stylus o, and the resultant angle of the groave 8, then the following relationship ots a 8 = an 9 tn and lst own inthe tabulation Vie oe ahs of 8 er 9 as a Since te vals of 9 i cominaly and pvocaly wayne in ein uve tie Etter sony ont ulations te ie wall we unflatine wer ttre ae oa ve od sens harris be led Gh ndamont TP the Satin Stu tils neat tad his ste ce he ented by arying cutie ie teen a Bee Saat Sueno sea to tinea he hakingt eran we tone retin th complet ofthe roe Stack stearate Sige fase awe selene cue oboe thatthe tats SE face arte ote cca te nine coven te welt ania Bette thee see eae ine nenedeer ye wRecuce erent ses tio te stance, one all vere pee ithe Roos ea the ie yee enpreton of te eee ata raters ah ate repeal vain pene na Frfluce tices heron ell ate onthe at nt of he ream ible eed ee a etn aot a ace ad sing ih Ces peaent change nthe ire ted fa oe snd ome Stier Alnor wevino e a iat hehe hen (Renton Senin te pcp toe ie enee eno oe wae ent Ning trun Tih cotwcnenalomumte Reet Salar tUbntclRecordig-Reproduing Feeds Se Prats bok of 10 esse venus une rere and stats a weateranonionstarablearetnbel” see ine arer tne is See on rth tote 8 Se outaiae for the sipenpee! rebel awe sere dives oo the sen lea oe seh oe eC RT Saat grove nthe eee ied tack eee cttmitel by he Kinston. Warts Scan te tucks are route tat te etd ak Se enti theme OF ih ash Heung Ronnie Nezorder of {916 te tac des cri ener eaten nthe ate aml set ae? wend as gener Tae ela hal an ada (Retlag orn ftched tothe record AUDIO reproducer arm; and the tracking arm carried a thom needle. stylus spring ‘mounted so that the necessary weight on cutting needle was not affected. ‘To rear fof the recording arm was an adjustable ‘weight so that during play-back the pressiire on the stylus could he relieved. a ss2r Tos! gg Sos) art sine The tracking point was gradually foreed inwards, due to the spiral on the tracking dite, and carried with it the whole of the’ cutting (embossing) arm. ‘These designs seem to be an anticipation ‘of the feed described in the May 1947 iseue of Audio Engineering for the Wagner reeoner, except that the latter's tracking grooves were on the reverse side of the fund roeord blank or else on a carrier dice. That design has sinee been aban- ones in favor of a leadserew feed for recording, and reproducing. P rooved Recor ‘The same 1933 English book speaks of recent revival in Ameriea of pre-grooved records for home recording because of a special synthetie resin pre-grooved record orn wns mere, Fig.9 Embossed tack fr vertical cording introduool by the R.C.A. Vietor Co, Te elaine that eelluloid was too soft and ‘wearable, and that pregrooved aluminum fr other metal dses gave greater surface noise or scratch, With plain-sueface aluminum dises the reconilng stylus was a plain steel needle nvore obtuse at the tip than an orinary ramophone ncodle, whieh gives a serib- Ing action, pushing away the aluminum surface to leave it with humped ridges on fach side of the groove, as in Pip. 8. Ori diamond stylus were used leaving sharp hures on the sides of the groove as shown by Fig. 8b. ‘The playback needle rested on the bottom of the groove, and is lieated by’ the dotted lines. ‘The Standard recor! grooves at that time ate shown by Fig, Se; the RCA, presgrooves were as in Fig. 8b; and the needle employe for rocording had « very ‘obtuse point which exerted considerable pressure on the edges of the groove, Because of the rotation of the dise these ‘edges are embossed or pressed down some~ what as shown in Fig. 8. ‘Thus the recording takes place on the upper edges of the groove, not at the bottom which remains a true spiral, producing an effect asin Fig. 8f- ENGINEERING DECEMBER, 1947‘Tho same recording neeille was used for playback. Although the results were ‘thought to be not 0 perfect theoretically as were those where wutting oF scribing was effected straight into a plain ise, yet those Vietor dises were evedited with fonsiderably better results than. those of plain aluminum. This was in the era ‘when fibre needles were extensively used and probably offered a low standart for comparison, Tt is quite obvious from Fig. 8 that neither the use of the recording stylus nor any other type of stylus for playback tastes a fit of it to the sound groove where lateral recording is employed ‘The stylus would bounce lack and forth from one side wall to the other, thus con ‘tributing to distortion. “This situation would wot prevail with vertical recording, where an embossed track tight resemble Fig. 9. But one ‘might well question whether vertical embossing would he of sufficient magn tude to reproduee any great range of frequencies and intensities. "A verticalcut track in a pregroove would have the sume errors as sill be discussed in the following article, and similar to those diseussed for lateral- cuts earlier in this article. Radius of Curvature of Sound Undu- lations eeatse of the relationship of stylus dlianeter to its amplitude of swing and to the round track velocity, it is of in- terest to determine the mininnuny radius of curvature for any sine curve which represents a pure tone as in Fig. 1), and to offer mathematical support of the fonclision that the ratio of such radius of curvature of the center line of a sine sown) track to its maximum amplitude from neutral equals the square of the quo= tient ofthe wavelength divided by two pi and suck ratio equals 002535 tines the square of the wavelength. 0) Tn diffeential ealeulus we have fearned that the fret derivative of the equation fof a eurve expresses the slope of tangents to such a curve with respect to the X- aris, und tat when such slope equals zero the tangent is parallel to the X-axis at points which zepresent maximum or rininuan ordinates tothe eurve; and that when the second derivative has value less than zero that ordinate is a ‘maximum or evest in the eurve Ta Fig. 10a the lative movenent of the coordinate origin O to the let a uis- tance { simplifies the equation of the curve to y asin be where 8 = 3; tan 0 =H ab cos br; for tan @ = 0; cos br = O and br mist el odd mune bers of §, oF 90°, 270°, ete. When bx whe por band fe ab cos The second derivative £ (2) = nab? sin ba = ab? sin B heres = advance in hi attention be Pig. 10) shows how a sudden may oeur at the erests of the waves of fan embossed sound track with angular feusps on the track's inner wall where the width of the track is too great for the pitely of its moculations. ‘This will Lg seattae remote. distortion. frm the ulcer Been lint of the reproduced maxiaumn ame woe nF ities of any aving dplinting tone tae econ And Fi. 1 shows how ach se eer 2 conto ie avoided when the sound rth track is narrower © ‘Where the ruivs of the atlas is too cameo? oe wc lange for the mininnn radius of undue tion curvature of the groove, as it often nay be, it will be necessary to make some assumptions in ovder to ealeulate the new relationship to thet of a proper radius of stylus cone ine curve, (o ‘srooves mith and’ without inner usps 2. ‘This equals low than ze70 s0 the Slopes of Sine Curves inte a nasinim. ‘The customary Let us assume that it will bea aginst Mepenonforany raat curvature pis ehe‘eusde athe gravee ea {amon 0%) ofthe fine, and et lan =| + G)']# + E(B). Tm assume theew dierent conditions for the + substitution p [1 +82 6% cogtbe] 3% mxinion slopes in the wndiations of Cae a Fhe sound groove asset, 30%, 45% tS Fthen try = 8 2 there: fore the radius of curvature @ = [1 + [r+ Sieg] tao Sy -a8ary & = Pandy = ~ ab? sin ine = Seo» “Table MH sows ato corespont The nurroer sou tack yrmotes "s ho gh it a ernest nd ane OES of dise with the same amplitude of stylus "The nepative sign shows that the Sees this ume nia curve is teaver upants at tis point mtr ets eke no ST nstman Ottis beware so erat It would aprer that tere svete in Sito tel for el ih rnaking bowing fi which Inve uth — lela sua epaucton: ay smaller tip radii of as little as 34 mil. as 515 sound travks per radial ineh (1.04 They have been successfully used with muils center line spacing) have been suc~ radii of 34 mile One would not expect eaefully embossed ona dive of 14 inch {oi deals in ptr as nan Tl ese ie of 14 ne finger or palette Knife use to, apply yam, it hus an unnnodulatd track speed the colors and yat ti overall et oP 18 ines per secon. I is aa 1 ray hare cerhn calor chan when oe del and repalited © fe nite nay be‘in he sun anaion quency of 1000eyle per econ. Ths Fea of le trawee of the st nel wavelength on tie above snd tack {emake ant lay tack recorde Any woul be only 0238 mils andthe ape ¥ and sinpesin § = Land cos j = 0, there fore 9 “Table I “The Ratio of Radius of Curvature to Max. Slope Ratio ot We point saunter points equals ot 2 Sine Cune 7 ayo wa ayo aa | Dna] eases —— moans esas ronan a vitor | Sash | taser | Bonioas | nines aie ose | ass | neo | ois | omnes “Table Max. Slope Ratlo a/ % ‘OST cS O3tst we Ore ie iad AUDIO ENGINEERING DECEMBER, 1947 25© Rich blue Dupont Fabricord— stainproot and washable © Rigid backbone with bound-in metal support © Light weight tmishproof alu- ‘minum ends © Coll springs built in at each end to securely position spring steel wire holders * Backbone gold stamped with Audio En- Sineeting and year © Center channel to keep magazines fastened © Round comers, hinges and backbone fully reinforced ‘© 52.50 postpaid. Foreign orders add 50¢ AUDIO ENGINEERING DECEMBER, 1947 a 4 4 « Here ot last is 2 binder using modern Postwar materials at prewar prices. Designed to provide instantaneous relerence to your monthly copies of Audio Engineering. An unusually fine Iibrary finish that will stand up under constant use RADIO MAGAZINES, INC. 342 MADISON AVE. AUDIO. ENGINEERING. BINDERS NEWYORK TT, NY, Enelored find 5 for Binders Name Address ity Ste 29NEW PRODUCTS SINE WAVE CLIPPER se Sine Wa Clipper i just been ssncunced by Barker & Wiliameon, Upper Darby, Pa, which wil be considera! an Jnnporttsiliton 40 the Tsboeatory equip rant of rina engines inert audio Froueney rile “This newest member of the popular line falne tent astrunents "9 sponse and transgante of isl create Desig t0 ‘be driven bay an atin eweilntoe the I & W Clipper ‘provites a clipped sie wave Irene tht anne ive Wave Clip Ty foeding the output of the eipper into sudo exqipmient ‘under ten -and tm turn Introdueinye the cipment’s output ito i willsee, the experimenter or en fincer ny iekly view ard analyze dise fortion ateeduced bythe ampli Harker & Williamson engincens have phostgraphed aint chasfisl the typical Kindof litortion viewest om the oiler soy shew testing equipment in conjunc tion with the eipper. These photogeaphs fare. optic inthe insrtetion book Accompanying each, Sine Wave: Clipper "Thi ese device Hm geval time saver ‘when sel in engaiwering work, repaie oF fon equipment uivkrsewtopent A sine trave alysis after every sng in cone nent eens tine conning atl te ious, ig mean of the Site Wave Clipper, harever the fect of making eles 8 reat may. be seen instantly ad Javile the ewune oF skola inthe proper ivetion "le rive we of the elie ne wave in aditon to rine aye. mewurements, takes for's nnn complete heck on the dtabilty of equipment in regular operation Complete information this new deve fs avadlable fromthe manufacturer RCA PM SPEAKERS A stud Fine of PM apeskers foe gone ral replacement and souuasstemse work fas ten anwaigal ly the Heneseal Sale Neetion of the RCA Tulse Departinent, The Hine inehuks a “controlar rare” 12-inch speaker, @ Lindh amd 9 3 Int speaker, 4 hy 6 inch elite! speaker fi a2 he 3 inh elite spear, Rates at 12 walte power handling emp the 2 ine speaker Tie a oepieee vl tet Trae for eats opeeatin, ‘which stomatal seratch nd other abjetionabe high-requeney noises “The RCA 4 andl inch speker inte ne re specially eget mice the ralio ‘Servicers snl! radio requirement, "The RCA 4 by 6 ine and 2 by 3 inch llpteal speakeme ane shine for tbe ‘mote combinations and portale rao. Complete speifrations and skseriptions of the HCA speakers nev elude! in Caton tthoot ZFS wvallae from RCA tue and parts distributors, or the, Henewal. Sales Scetion, Tube Departinent, Harrison, N. 3 STEPHENS SPEAKER In fie with the deri for reprstucer to convert existing easipment for Mig fidelity, the Stephens Manufacturing Cor- poration offers the newly designed Ronie, Madd P-S2ER CosSpral Speaker fmbodying novel constructional features. ‘The Diferential Diftwer, patent pending, accomplishes high frequenes' dispersion with fan almost 100% sper polar pattern of over 0" Brequeney range i from 40 40 15,000 cycles Ae a role of iimerous tests on proentative soup of ividual, Tree ‘quency characteristic has been ealelated ite record moor rumble below 7 {to omphinsize x ini inthe “nme” range around 00 cycles, "Pro cence" inact Ly a ie at 2500 exces igh-frequenes" “hash” i subdued by sista! roll-off fom SOD eyetea. Supplied Ii'both 12" and 15" cone diameters Erle with 234 bm. of Alnieo V magnet ‘mater. Bienes over 30% available with tittcr 8 or 16 olin yoo cil. 13 watts of poseer input hatlling capacity. Avail ble or imustinte delivery. Thlletin No, 10 aserbing th compe Stephens “TrieSonie fine nay be had by Writing Stephens Manufacturing Corpore- tion, 110 Nationa lst, aw An 34, Callorin KLIPSCH SPEAKER A ewe 2ovay sound epaduece be being anaactored by ociner Bletrnics Lal ratory a New York City. A. Inseally ewe isn, the unique feature of the lipach Spear System ic ite eof «horn for the low frequencies well a for the igs trequenes range. Conventional 2-xay speaker system use lice rin for the ln froquences. “The Klipsch low-frequency: horn is fled in am ingenious mune, atl uses the comer df the om a an integral part of the aco tie seston to tht occupying only cubic fot of space, it provides performance ‘equivalrn to eonvent ional designe horns Sto 16 tines as bulky. Nuch large horns fre et in thet installations, bat could Hay be used in living rom, while the gael Speaker Syateny Ble unobtrusively into corner, where it ulin the co Werging walk and oor ax an extension of he liw-fequeney len. The listener 18 [terlly inside the loudspeaker. With both the igh and low-frequeney speakers couples ons, thcir relative ickencies are nearly equal Thus, eb Hot essary to attest Ste the high frequency” unit marke to taatel the low-frequene tpt, i the tne of ret rant “The gain in elisioney permits the we of relatively simple ihequality trode Siplifier of mnlerate cust, for mia ap entions, eeause of the hora loading, Solve excursion at low fequencie, even at fall power, is extronely sal fea. result, latotion it ofthe onder 1/2001 to i/00th that of eset raion The ton-rexonant charactor of he speaker aystem affords reproduction of transonts ‘eithout hangovers ere fe no vont re ‘quency in the Dang aig a ekeited Dy’ al Fotos tn ity vieinity. Tao ident are ‘early recognize The otginal tones re eprowice te det et ot ore fred the speaker ‘novel design of high-frequency orn provi w eye horizontal tistrbution batern of spac oma the dispersion of the horn ‘ifr ‘quency dispersion aevonplished ith the usual tutes constrict, which Droduooe a ragged iste alter, Fundamentals fron 3 to 1H ees fare ckanly reproduced and uniformly ie {Wibated throughout the rom. “The viding. tetwork esa cwmsante resistance, partied type, providing 12 doc ver frequency 3 cvekee—nfenty Tow to reduce ts a negligible value eros Julation iv te losesrequvnes speker ‘An Tepaal penne mjgsrmvnt sf fae 10 it “Inlividual eon, Aisne Atetore are ured, to wv list frontman proturts eily ee Siting from "nonelincr magnetic eam. poset "The Klipsl phen spatoun is avaabe fas complete unt, atl the intvidual com fet tel as Use high ado -frqueney Tons drivers, au siviing etn, ea Ie obtained separately. The Modkl iA ie rate at 30 water Other sale provide povsur handling capability ayy to eats PRINTED CIRCUIT TECHNIQUES Th reaponse ty a unprecedented demand fur technical information pening ele tronic eireuite the National Buren of ‘Stardants has just published the fest com prehensive traitnent of thie subject en ited Print Circuit Techniques, by. Drs Glado Brunetti and RW. Cast The booklet coniats of 10 chapters totaling 43 large, two-eolunn pages ands adequately rated with 2 hall-vones, 18 lie ute Wifive tables. NI Cireular 468, Printed Creu Teehniguet, no available from the Superinenent of Documents, U. 8. Gore fmiment. Printing Offe. Wachington 25, DiC. ae 25 eats por copy. AUDIO ENGINEERING DECEMBER, 1947ALLIED RADIO CORPORATION Allied Radio Corporation announces the publication of «new sS-page suppleient to their roguae master catalog ‘The supplement features the most event developments in radio an electronic ee iment as well as latest price information Tnehided are new wie and dise reconders, tea itruments, an added newline of ‘transformers, a television kt at other new Dulles” its, high-fidelity ‘sound. equip- ment, new aniatee transiting cqipment, omentnications ooeivers al tulio. fciving Sela. Tales price infomation provided for siandard tubes, test units, fondensers and resistors, Ineiading. many price veuetions ‘on this smd other mer fhandise rogaaely aed ia the radio aa ‘letromie ek. The new supplement No, 114 as well at Allici’s "regular 1G4-pago master catalog, No. 132'can be obtuined without chinege from the Alloa Rasio’ Corporation, $3 West Juckson Blvd, Chieago 7, 1. PHONO NEEDLE ‘A rave osmium alley tip, especially d= veloped for fine tonal reproluction, i used for the fist tinwe In the now black wslen phonograph needle now ling introduced to the trade hy Webster Chien To new muta tip in alloy, formed by powde metallurgy on base of eam, rare ant expensive. mineral element It is miew-ground to ibrorike nih which provides a smooth, tle ide of the rece in the record grove, The black nylon needle employs Une same unique nslon “enuceaston”™ which Features the poplar Webster Chicagy Ivory’ Nylon Neve vith the Jewel Tip. whieh wa troduced 0 aucoostully "year eo WIDE RANGE MAGNETIC PICK-UP Ofering a new approsch to. magnetic seprotucers, the Clrkstan ILV Piksp pr sents a high-fidelity, wilerange sevice of extreme smplisity” wad ruggednass. "The Stylus eae instantly yemoved and Re placed by the fingers without the use of ‘Any tools, thus porting the use of styl with various ballpoint radi This pickup thas a flat frequetey response beyond. fm requirements, The noedle, which, weight St'mg, is the armature aud i the only AUDIO ENGINEERING DECEMBER, Dut i ean be had in ‘of 8, 30, 250, and 500 obs When used in conjunction with Clarkstan Sweep Frequeney Traneriptions, because of te flat response, the picknp vill serve ss a secondary eneep frequency standard Tue piekup is made to sll in conjunction with 0 transeription-tspe tone ami. The Specifications on the pikup are Response. Exactly velocity responsive 015,000 ep. Stylus. Sapphire wich standard. 009" roving part, AI! noolless mass fs Been eliminated, thoreby reducing sewdke talk fo. minimum, ‘The pickup ie stable winter ll normal working conditions of temper fre ant hunts. Tigh nena he ras ball point, 50° cone angle. Rai of 015", 0022", 0025" alo avaiuble Necdle Force, 20 gram optinnum for conurcal pressings, (Continued on page 80 Ingenious New Technical Methods To Help You Simplify Production wl ss past Instantaneous Production Control Improved Electric Counter i h Wit! counting ston on for more ecient production and clin faite ot overran waste see eeated ty WIZARD Hess Giromere. Thee cleealysoperies! devices count any fier moto dirt a sth rey or hay without physieal conact and sibowt Fak to teagile oF Feeshippbrecd objet The Counters cane installed at any distance from the Feiec or photteleciic wnt burt The conn anges Sele oh ened on panes inthe Broduaton Be Ear maintain aptobenwant count Of al operations fhroushout the Eire Pant Yew cam also count chewing gum ta help employee's froth job eiccney Ch puseiieve ange Reps the throat mona ‘prevent “aie ihe be foes hand ce wor Hara thy move ‘and move Svallabie wo everyone, nk SURI? Spearmint Gum “Complete dati maybe obtained from Praducton lst mes Company H0 Wet jackson Bosleeard, Chiege 6 1947FREMODYNE CIRCUIT © The Taveltine FreModyne circuit ceouiines superheterolyne and super generative principles to form a sensitive, Simple and practical fm detector. Tt is the result of extended theoretical and practical development. work, and i in- terulst primarily for audition to low- pice wn receivers in onler to bring fn Drogas within the reach of all income groups. "The. circuit utilizes only one dual triowe to convert the relatively weak {20 sal from the E-mvantenna into ss alin Signal voltage which is larze enous to operate the conventional audio system of aan receivers In the FroModyne cireuit one triode of the di-triole tube serves merely as the local osilator necessary for super heterodyne frequency conversion. ‘The other triole perforins four fnctions, fopernting ax (1) a stperheteradyne von verter to an intermediate frequency of about 22 megacyeles, (2) a superrezenert- tive bf amplifier of high gain, (3) a ron verter from fan. to am. and (A) a dee tector delivering audio output. For brevity this triede is hereafter referee to as the superregenerator. ‘The fem Signal is converte to aim. by sive-toning, the receiver ‘The use of the superheterodyne prin- ciple in the FreModyne eireut. greatly redluces signal-frequeney’ radiation coni- pared to a conventional superregenerator approximately 30-40 decibels reduetion}, andl provides more uniform ssiperrgener™ ative operation. ‘The vireuit alan in- cludes a special automatic stabilizing farrungement permitting the regeneration control of the normal superregenerative receiver to be disearded. Thisstabilizing céreuit also permite a quench wave of special shape ta he obtained which ives PROFESSIONAL DIRECTORY C.J. LeBer correct tuning. This compares with thee responses in conventional fom re- ceivers, only one of which represents correct tuning. ‘The two responses ob tained are quite elose together on the dial, arudmany’ people, including. engineers, have operated a FreMadyne receiver for several minutes hefore realizing that there sas inore than one response Tue fm signal picket up by the an- tenna is applied Uhrough « signalfre- quency tyne eiruit to the grid of the Superegenerator. Ilege itis mixed with the loral-osillator signal, produced by a conventional Colpitts oscillator circuit ocd seletivity, good autio output, and ‘ite linear Fm detection Being sle-tined for fom reception, a BreModyne reoviver has two responses for each station, both of which represent CONVERTER- SUPERREGENERATOR- DETECTOR SUPERHET osciLLaTor THE FREMOOYNE SUPERREGENERATIVE~ 4 SUPERHETERODYNE CIRCUIT Custom-Bullt Equipment Winston Wells Designer and Consultant U.S. Recording Co. ‘M21 Verne Ave, Wastaren 5,0. ‘Acoustical and Electronic Research 307 Ease 4th Se, New York 17,5. ¥ MU 4487 Die 164 AUDIO ENGINEERING DECEMBER, 1947‘The resulting 22meqaeyele signal is anid hy a Colpitteoseilator type of sperregenenitive detoetar, at auto is ecnvered crises 22000» resistor in fhe lead from eatheale ta Banna. AMter Filtering ont «juenels sind apple comphasis, the aavbio signal i deliver, reaily ta be fed to a conventiensl ain A resistor of 150 ohins and tonne ratio. ‘The amount of is eomsideraly Jews than that of cow SemehtTee than many’ conventionally Adesgnedmieivat-priee fam receivers de. The selectivity of the FeeMovtyne cir cuit ie better hat that of many conven tionally designed receivers etn Seasitiity (SY N30 ly ‘14.db (200 1») ulation Yentionl saperregenerative receivers and tan rine tes Adatio Power Outynt (ns rl 1 ‘pul Fatt Rediston: ‘Orellator Prequeney Mpa (85. mwe Te ie sufi ict : Sigal Prequrney (use pulse of 10"; nh Fen for onal rejvtion of cal stations Sapacitar of 2300 pat eontrl the agen jaticularly when the receiver is se Te eevee ate sup. Augther wesistor of 13,000 ined on the appiupriate wide of the CS ced tii aul an electrolytic eayssitor of desired signal, tat away fron he Reraee Poser 1 watt TW pt permit stabilized operation with «interfering >i large atin that Peas aaee cinvit disiintn OPTIMUM FILTER TERMINATIONS A low-priced aeuy/Em receiver using eda impulse noe ach ax due to autor @ thong clasical iter theary ap the Hiekinigne create can be obtained invbile ignition, ‘The use uf superre- fee the evmstante. of the various com Toy adding the single FreMedyne double triode to a camventional. Tastube-plus- revtifior acm reewiver. The F cieuit thon: merely ses the audio anc fier aml power supply of the wan set. detector ela rarter This sgrangement ennits very simple switehing of the aalio aul plateevoltage that are not ignored Supply when change Gro aun, to Fan, compres The nsale fn sensitivity of the Fre- Monlyne reveiver in its present stage of Tievelojasout ie represented by the quiet ing sensitivity of the onder of 4 lb below sine welt (200 4) ane wat by the mena Values are aver fenstivity (viel inelides values with Test Condit ans sithal-tirawine ratio). A siznal" Pregueney weaker tha 71 dl ea be heat but at a Sens acd correspenaingly altinvine ratio. For example, an Staleebel 0 fal gives approximately 20 dy sgnale vis tye feenerition makes the ieally sensitive for short intorvals, so that ‘Moriyie it eonpletely gnores many impulses ‘curring, between, these intercals.The ete lgarithinie 0 that the large-amplitude noise Typical FM Performance Dats for A-M/F-M Sel Using FreModyne Cire x fur several Hexen snd cease developanctal elves Daonomy Antenne Snnland utp Nitant Molations $22.5 ke wt 400 prensa Function of the terminating Fesistanee, it las long bee uderstovad that varring effects raul be obtained hy ar ehange of thiv value, Ted, Giaeoletto Fepurts an interesting sty of this subs hulecy destin the September 1917 issue of RC evi, ler the title “Optinuny Re- stance Termination for Single-Sertion Constants Lavdot-Type Filters The pti termination resistance for a desired operating characteristic froma single seetion of constant leuklertype filter permits inyprovet per formance without extrs ritruit elements Sections may’ be slsigued in the usal Inunner sit the substtation of the vale for Hf swhich is equal to Ret, where It, i te impedance of the generator, and tht for whieh the filter vould normally (Contin on page $8] ‘are crusheal oF 300 ole “The Professional Junior” COLLAPSIBLE DOLLY for all TELEVISION CAMERA work Large and sturdy enough to. catry television camers SndPoperator, Atsombled auickly and easly. without thy tol or spect sill” Cllapacd, hte ints careying nie '12¥ square and 6! long Enclave tug: aber cormtacton + abla {ited heels ‘= sockets and fastening clampe for te tic! phe iacibedvtely Want abun spring: rented seat for operator * four jack screws for ewe: Theor ime position use * sturdy socring fork pro Sieg GR Rikeveting lock for stectng svat heed Ceamena STC megane ‘bore Day ath E thee ty ct eter er is AUDIO ENGINEERING DECEMBER, 1947 2couldn't pick a nicer, more sensible, more welcome present. Even Crosby knows that.” SAYS BING: “I hate to admit it, folks, but Hope is right. And remember this—you can buy Bonds at any bank or post office in the U.S.A. BOB AND BING finest gift of all—U_S. Savings Bonds!” 3 But there's one thing they really do agree on— the both think: j7D U.S. Savings Bonds make wonderful Christmas gifts! e swell for anybody on your list. You gether): “This Christmas, why not give the Give the finest gift of all ... U.S. SAVINGS BONDS Contributed by this magasine in co-operation withthe Magucine Publisher of America as a publi serie. © AUDIO ENGINEERING DECEMBER, 1947Two-Way Speaker rom page 19) to below 40 cps, the resulting curve is thea inspected to determine if the two peaks are of equal amplitude, TF they tre, the eoustrueton is completed, and no further adjustment will have to he made to the box. If, however, the two peaks tre dissimilar, experiment with piece ‘of wood i front of the port until they are alike. Noting the amount of the port frea that is covered by the extemal wood, femove the back and install an equal sized hock of wood on the inside of the fabinet over the opening, with another Piece of expensed metal covering. the port. “Then finish the lining of the front panel. Tt may possibly be found that the port is too’ small, andl it will then he hrecessary to enlaege it to. obtain the Aesired result, However this isa matter of experimentation, and will vary with teach speaker nse,” No specitic instruc tions ean possibly he sven unless the txaetdinensions ofthe cabinet areknovn, together with the resonant frequency of the low-frequency speaker. When the port dimensions are com pletely determined, the exterior of the bor may he painted, stained, or finished inany way desired, | However, since the high-frequency unit and horn are to be mounted on top oft, itimay be that some ‘other housing raust be provided in onder for the entire speaker to have a passable eve appeal. Fig. 3 shows a typical frrangement for the complete speaker, ‘without any’ provision for improving the Appearance, “Before going further with the step necessary to complete the ex ternal appearance, it is desirable that the final design be determined. ‘The complete speaker is to consist of the re fleceahinet for the low-frequency speaker, the high-frequeney unit and hor, and dlividing network. ‘The horn aust be correctly mounted in order forthe results to be at all passable, and the remaining steps for the completion of the to-way speaker system will be covered in the Concluding article of this series, whi is sehisuled for the January issue Wide-Range Reproduction rom pe 1 examine this matter of Cidental and Incidental Istenng. Outside of a Te ongin and fympant players, even laa il nt tt thet very cs end hen while isteing ently. Howevet ‘Senta isteningassounts to aly asa pereentagy on radio muse une the bat Srconitione sen with, Toscan oF Wasi: pobbly ony between 0 nd 30 percent oftheir aulences listen ide iy. “te logue shows ike Hope or Lr, the peroentage will be higher, but on dialogue an ootave could be removed from teach end of the system defined without | Serious damage to articulation and enjoy- tment. On the vast majority of network radio shows, the percentage of eidental Fistening probably falls welt below 10 per cent. Probably, over a year's time forall Tisteners and all shows, the average per= centage of cidental listening is somewhere faround 1 per gent, Tn the ease of home Feproduetion of records, the percentage ff eidental listening is probably higher for tlassieal reeonls and lower for popular records than the estimates given for rail reception. However, the sales. of Classical recowls are s0_ very much less than for popular records that even an asinaption of 100 percent cidental listr ing to elasseal records will ot ehange the lverall picture more than a few per cent. The faet is that most listeners xually listen tnedentaly System Requirements What diference does the listener re- ‘quire in the system between cidental and incidental listening? For cidental listen ing, practieally all Tisteners would prob- ably prefer high fidelity, us defined ahove Teilental listening requires «graced frequeney. response and vole range. For ineilental listening, probably all listeners prefer music to dialogue, al- thou a few lonely people may prefer a $32.50 for intermittent overload breaker, and pilot light. preamplifier heaters. al AUDIO ENGINEERING DECEMBER, 1947 background mumble of voiees to make thea feel les alone. The important factor in discussing sostem dlogradation for incidental listen ings the matter of “masking.” By nas ing is meant not only te masking of hear ing but the masking of visual pereeption, attention, and thought teal. Tt is prob ably’ that all these factors vary closely ‘with the masking of hearing alone. “There seems good reason to believe that the masking of dialogue by music or noise is closely related to the intelligibility of the unvoiced consonants such a8 8,6, 0 and t. The most important octave in Yolved in masking these sounds ie that From 2,000 to 4,000 eps, Thus it appears that the loudness ofthe masking sound in the 2,000 Lo 4,000 eps region determines the major factor in the “Irritation Index” fof incidental music as a background to ialogues "The Juke Box manufacturers recognize this factor by starting clown from about 1,500 eps at a rate of better than 10 dh per octave. A better scheme might be bo attenuate the 2,000 to 4,000 ps octave, then to go back up asain to fitch the weak high-frequency, sounds ‘whieh help #0 much in separating and identifying. incvidnal musical instru ments, A. sitnple t0-position tone control marked Cidental-ncidental might satisfy the majority of listeners, 12 VOLTS 10 AMPERES Giltered Type 412 RELAY POWER SUPPLY (Operates from 115-vlt,60-cps a Fine: selenium reetifir ensures coo! ‘sed continuous operation at rated load, with adequate reserve power Enuipped with line rit FFor celaye, signal lights, speaker Belds, and particularly useful for = “AUDIO FQUIPMENT SALES == DE BGI AVENUE — car NEW YORK 13...Musical Acoustics Linon peae 2 tive of ther rnportive pees, That i tt trio with amp Aes slwn in Fig. 1 the ae to lennon pr tig the sane tone of the ane Wau nt yhine frac gp of erent for, ie Aiorent uber of mast peaks pr oye Tirtherwor, nes, when combined at il pls showing equal amplitudes da! not represent. tones of equal loudness. ‘The energy oF loudness vies directly as hoth the square of its aunt as the square of its ane le. Therefore, the easal insertion, aud track ma’ e doveptive, sl the prediction of mininm spacing re tyuiredetween sonal tracks fr certain tune eannot be mate except Ine arsine analysis, This histrated i Fig, 1 Ieahowse the inaprsition if the tOth bi monic with rekiive amplitude af 080 upon a fundamental of reative frequency 1, amplitade 1, ant energy 1 The relative energy of the harmonic. be wa fr 8.00 ani although the relative Hitude of the complex resultant foe ix fly L265 andthe relative sauires of amplitudes ix only LAD, yet ite ener (lone) 10.00, hist illustrates the wellknown fact that the most energy in a exmnples tone does not necessarily Hie in its Low fre quencies, and that the low frequeney tones ventral the wsininsum width of sparing between sound grooves. And it alsy points to the importance of the imeroseopie sual anplitide iregularitise ina sound gimove. They adtd extraneous high frequencies and provoke the nataral resonant frequencies of the revuding tl repronlicing vice, With eut grooves microscopic fasures result from the tearing away of the thread of material and hurnishing i resnrtet to for curing such defects, The Iineven width of the send geuove places eal thrust upon the playhaek stvlusat the “pinches ta promote foreign vibrations; and permite the xtylus to rattle around at the However, the problem of maxim slopes has’ been appinachedt front the 4 ; Be Bae Fig. 14 Complex Wave consideration of simple sine eurves and it is far more difficult to conceive how any sound reproducing stem usin physieal contarte and restraints ear FOR RELIABLE CAPACITORS El Menca Write—on firm letterhead—for new catalog. Foreign Radio and Electronic Manufacturers communicate direct with our Export De i ment at Wilimantic, Conn, for information, THE ELECTRO MOTIVE Mfg. Co. Inc. Willimantic, Connecticut 36 ronteens pate og (ose eare vettoene feet of (ou ve (0 mous) Fig. 15A, Sawtooth Wave, 8, Square Weve ont aud repraduee the all more steep Ditelwel curve resulting from the integra ses of hartonies ‘Two extreme eases are shawn in Fig Hi arvl 1b, Toth, of which ayproacl, aun eeueh at their iit a series of open at 9° to the unmodiated! woul trark unl they ould offer a linet ubutiment to am amplitulescontrolled pickup, tion of sane ps TE all the eve aad old harmonies are present sith mpeetive anplitues vary ing inversely as their frequencies a xa tooth foray of eurve results, havin esuation y = 2 [sine + sin 32 + | Thiv is chown in Fig. 2a where only the Fist tte tert of scl series lave heen ave. With ait finite number of terme it would show straight lines connected by mal Where only the inclie fm such «series a square wave form results, atid its equation is y= 2lsine + asin +} nie+—] Pig, 13h sls such curve for the first 15 tenuis of that equation. With an infinite muuber af abd harionie terme ite forms onl show vertical straight imnected| hy horizontal strait Fines Record Revue from pane 271 iol call this materia, tuner normal contin Be hone too Iumneone ei Futd'woun vse ad ain! nes Bread and Butter Woman Cy Oliver nt Tie Orestes Arent noe Gre ste pinay Casi iwinher with Feros far fewe annie than a Wet Inian sen The wora ie aoa chon il tec, be i suns ata “Tie ang af the evan dace nat eee the Hata of the [mal reveling sent Uelward Tatnalt Canby's caumn will renp- fear next mantha ce wall me more by Berra Santo AUDIO ENGINEERING DECEMBER, 1947Impedance Matching from yage 2 these reflertions will standing waves on the Tine which may produce Yoltane nodes of value considerably Higher thin the vollage applied at the souree nul This ay’ result exosstalle into other lines. ‘The very long fine also involves long the line with inductances anda nuimber of other complicate Long Lines Fortunately, in sound distribution systems, long lines are seldorn used. Per- | Traps it might be well to define what is 8 one” line. transmission line is long when the length ofthe line hecomes com Fru to one-quarter wavelonzth of the Highest frequency its elesieed to trans nit. Assign open svee lineal the approximate aasinuption that the velity Of transmission equals the speed of light, T4000 eps has a wavelength af IN6 ales, Thetfoe, for tausitting 10.000 | ftps fine more than oe les ong is a hang Tine, Fora line 1 to niles long, the prublem: is more complicated than for the short line but far easier than for the long line His not necessary to terminate in the characteristic impedance, alt it is hiecesary to terminate in an impetance | of the same onler ‘uracteristie impestance. it is necessary, if the fie i rented from a telephone carpany, to abide by the | standant of +S vi for the terminal volume level. If this value i= exceeded the Tine niay crosstalk, into adjacent Fines. I the level falls very far below this value, the siginbtondise ratio will be inpaired. Teanay be necesary, dlepent- ing upon the length of the Line, to make correction fo line losses. Figures 2 and 3 show that losses in either open wire oF ‘ale ines hecome greater with frequency or wired-musie appliations, «com on practice is to provide a termination | ‘of magnitude ay the Further, fot about 150 ols at the central di Cibiting point. ‘The line rans thnmngh fmne-to-oe isolating transformer into the | telephone exchange wee it may ranch tor uther telephone exchanges and then Inay branch, agin to several subserber locations. This i in effeet a moderate- length Tine with « 150-chm termination fn one endl and a number of subserier tnuplifiens on the other en. 1 the ln ave not more thay about ive miles hn itis perfectly feaihle to place Invidg snplfers with high input impesances at the far end, OF rourse, the. telephone fconapstny may’ requize an isolating trams foraior aha of each amplifier, but the Fine terminated in an impe lance that is snypsinately eal to the input impede dance of « subscriber amplifier divided. yy the munuber of amplifiers. ‘This slioukl turnout to hea value of the sume onterot | magnitide as the termination on the ‘other end of the line. If the program level on the telephone line is restricted to +8 yu, no great harm will result From nm iinperfeet matel. 1 the lines rails further than this, however, it is preferable that each Tine be proper terminated at both ends ina value of inmpedance eal to. the characteristic iimpeslace of the Kine Magnetic Recording Ura page 18] point where the gay) becomes so narrow that effcieney” again sulfers from flux Teakage across the gap. Obviously zero sap opening would make a very inefcient Fepreeing heal Conclusion Over wide limits, Uke gap width of the rocorfing. heal hi litle effect on the recuning. Teshould be sufficiently wide i that strong fel have the mpportanity 1 penetrate the tape set uot so wide that erosive rnstents ae require for exci tation. The Frequency” respnuse of the playtek intent be lfinitely forte by the gap wilth of the reproducing geal ‘he dennaetiing foes developed in econtng tone th idietion at high frequencies Th Put IIL of tht artile for The new, RMC Hyp! advance dome with its parabolic projector, and the special mognet di nt provides @ high quality, eff high quality plus efficient performance combine these effects and consider their inflience on the over-all response, At tention vill then be given equalization, tine, distortion, signal levels and. the tects of velocity of the tape drive. Sound Reinforcement irom poe 7 speaker to radiate the higher requecin wv etetional properties usally in the Ton offs beans te wi of the beatn Tring. fnetion of the loudspeaker de- Sige and the Frequency involve, These “Tretia properties permit the loud Speakers to be locate fn such a manner that the mlevorbones are protected from reeivng appre dre pik from the alae ute “The poble of feedback may appear to he sompitatel by te presence of niieneertio of the eo. Tahe cer iatey ith Senter wl not he tnevantered, fom hs sone, provid tet of "thew -niropianee Ane {iMiaty, commonly Kaun asp Teck” thay be enroute when the aulience reaction microphones ate open. isis due son frm the lnlapeakers hing picked np by the sulienee reaction hones and appearing as an ce "The on fon the air channel Mog Speaker represents an outstanding the ort of Speaker design ond development. The center ign for FM and wired music Installetions. The result of many years’ research and skillful engi necting, the RMC Hyper-Mag Speaker offers a linearity of response from 98 to beyond 8500 cycles and an extremely low distortion. Noturally, RMC quality and fine workmanship or Sold through local jobbe Sd AUDIO ENGINEERING DECEMBER, 1947 RUC i CI plus advantages. Write for Speoker Bulletin HS A Siam 37COCR WHO'S WHO IN SOUND ula with tam amd, home necordiato Well liked by amatess, home re cording fans, and special P.A use. Slightly ising frequency chaste. isn aids voice earny, A real all weather per FoumersThity ‘00! High in pedance UNIVERSAL KD DYNAMIC ‘MICROPHONE Radio Catalog 140 VoloPocked Pog of the LATEST ond BEST RADIO * TELEVISION and ELECTRONIC EQUIPMENT We er REE copy Adress Dap. 27 Concord Prt br 38 reducing slap-hack is to protect the ate lence euetion microphones frum the fll field of the loudspeakers hy careful place nent of both mieraphiones. and lout speakers Conclusion ‘The sound reinforvement system design details discussed abnve have heen en ployed in various studios and eudia thea ters of the Columbia Broadcasting Sy tem and have proven satisfactory from both an engineering. and operational viewpoint. Many of the ideas cseusset are the rest of suggestions contrite hhy members of the CBS staff over a perio! of years. Although it is not possible to nssoeiate any specific idea with a given individual, the tontributions of “ull are nietully acknowledged Technicana Lom yoge 33 be designed. The optimun value of & for variors etaretetstios of the com: rleted filter may he determined by niti 1 series of ealeulations for different valtes anit deternining the Standaed Error (SE) for these values, “BY the applies: tion of the ealeulus, ix possible to seloet the maximum or minimum value of the SE. for a particular desir hanactor- iste, oritmay be determined ly graphical means vith greater ease ‘This determination of the Standard Frror is nude over the pass hand, and when such desired characteristics are optimized, it is probable that the pete formance may be affected adversely but- side the pass band, although sueh changes are usually small compared to. those within the pase hand. By this mnothod, i i possible to adjust filter characteristics to provide any of the following: optimune uniformity of esi five impedance throughont the "pass hand; miminum reactive impedance; Tinear phase srt; and avasinsuns poser transfer. The article caries table showing the values of F which provide these characteristics, VOLTAGE REGULATORS © Voltage regulated power supplies of the (pe using a controlled series tube fare discussed. with considerable. thor foughness by Leonard Mautner in the September issue of Electrical Engineering, anc! a nuniber of important eousierations ‘whieh may not he obvious to the designer of such equipment are brought ont Primarily, this isa study of the busie series type, shown in Pig. f, and itredces the operation of sch sincuite to nanthe= rmatieal precision. This type of reg lator has sore points of similarity toa eathove follower, wud in itself tends to attenuate variations in the plate voltage ‘To some extent this alone would be an improvement without the regulating contro eeu ‘The ratio of the change in the voltage in the output eireut to that at the plate of Ty is equal to 1/u(3a when the load resistor for the plate of the control tuhe is fed from the eathode of the series tuhe instead of from the plate, In ortinary inglostage control iteaits, ‘the value of G approximates 100, and the 4 applies to the series tube, Vn expansion of the control amplifier will provise a cn Silerable improvement in the ratio. 60 that with the “eascale” amplifier itis of the order of 0.2 par cent. Using a differ- cence amplifier in the control evil will provide four times hetter regulation, with 4 ratio of about O05 per cent. With a two-stage amplifier, the ratio. may. ie crease to 0.018 percent, al with three stage ean the ratio may be increased twahout .007 per cent When such high degrees of regulation are required. it-may become novesary te operate the amplifier heaters from a fe souree, or in elaborate designs in hie a lange amount of poster is fire ished, it may he possible to employ the Fig. output voltage in «series filament string for the regulator amplifier, thus providing the ailvantage of both see supply to the filaments giving further reduction to the possibility of hom, atvl a rgulated volt age supply maintaining « more constant te ontput voltage free from Muetuations cause by vasiations in the emission of the amplifier tubes. cREDIT We regrot exceedingly our failure to credit the eo-tuthorof the paper detiling the advantages of the Space-Charge Grid Output Tubes, a report of whieh was prevented in the October issie, While Norman C, Pickering presented the paper after constructing and measuring the amplifier cieuits employing the tubes, the wetual development of the tubes themselves was carried out hy W. Brian, and he elaborated with Pickering in preparing. the paper. audition, he conducted the discussion of the paper following its presentation. In AUDIO ENGINEERING DECEMBER, 1947Letters Studia Zuality AMPLIFIERS anne’ WITH CUSTOM-BUILT FEATURES Dean of Sorell & MeAlster’s Now Comtarcl Anpier building, A search revealo the fact that tert ps af sack pipe a || out horizontally were eating the pes | | Shlbedios the principles which have been proven in custom-built iar aroustic absorption effects. Tt or | | Units developed in the Motion Picture Industry, where quality is Stoel es at oripsieheyimtreal | | tate Poy Keone considersile use in controlling stulio Taw. models operate up 25. models opera Designed & fabricated seowties votine 8 icrsprawere, Gamat yb anata As for Audio Bugincering—all we sitcinay coer out ideo’ oudience of pelea can say is—it's about time! In looking, oor 2500. 3000. fer the Motion Pic Tnoejouraal nese the bss ot | fees ans feyan'ueva a fe ot has | | tuisineration unparalled inal the | || Met eadectn Ay epasegiels Ted Powell ite today for informative cotelog & Technical date, 5719 -6%h Avenue we ve ined, Conical 12 * ELECTRONIC DIVISION BARDWELL & McALISTER, INC. New Products ae, '80X 1310, HOLLYWOOD 28, CALIFORNIA [rom poge 31) Ee Outpt, 60 milvelts st, 1000 eps with lateral diplaccment of O01", Tnpesanioe, Standard cartier, high inmpadaner; other inypedanees alae on reaps Radio Engineers! Hams! Terie Characteristics, Inductance 50 niente a 1000 poy“! 1.05, thew ane, ome Wet 90 grame IF you are interested in amateur x radio, you'll want "CQ" every oT icy fe aout by month, Subscribe now. Use the larketan Con 11927 West. Pion Boule = 3, Cali handy coupon below. Attach ‘your remittance and mail today. New |. R. E. President and Vice-President CUT OUT-MAIL TODAY— CQ-RADIO_ MAGAZINES, INC. call 1342 MADISON AVE,, NEW YORK 17, N. ¥. The Institute of Radio Engineers has announced the election of Benjamin E Shackelford as president of the Institute forthe year 1948, Dr. Reginald L, Siith- Rose of England was elected Vice Presi- dest Sis: Here ie my © check (or 51 money order) for $ Send me fnsues ‘of CO, 12 ines $2.50—24 inues $4. Foreign subscriptions are $1.00 higher per yen) Pleats indicate; CJNEW RENEWAL ' ' ' 1 ! Dr, Shackelford has been a Fellow of | ! the LIE. since 1938, Tle is manager | Stee tee ugacteat or ROR ae — national division, New York, N.Y, Dr, | | Subscriber's Name (print carefully) nites sFalow te TICE || pan - Telituton Mews Bag iy Zone State | _———eneee AUDIO ENGINEERING DECEMBER, 194718 HOURS OF Coe stable! MAGNETAPE* RECORDER! ow — record and playback on his aning ‘Grrument ony nun ha com be hear ced ‘hooy thal emnot = wos concert ball ‘Prony tee bat your tar Single thee lope apeeds for blgh deli: mecha lati rap to 8 hour vole secon: The ‘gl tcarev end paves rte dan prcle melt hr sales iy ong Send 5a tons or coin ov AC: Shaney's ‘ew bosdat“Eamente af Magne Tope Re ‘Sriing "and S58 Appleton eons ee ee 398-4 Broadway a New York 13, NY, This Month ‘MAXFIELD BECOMES CONSULTANT Joseph P. Masel, intcmatioally kor pioneer in ‘research nd the practical Yelopment of sound transmission, recoding nd reproduction, whe reirment fiona the Ball Telephone Laboratories wan Joseph P. Maxfield ently announce, has eeome associate with the Allee Lansing Corporations as Ginsating Engincor, according to a sate nent issu by G. L! Garrngton, Present of Atwe Tansing. Mr. Masfil sn ber of the Adeisury Hart of Aun Fag FTR API howe Noa, that INTS BLAYLOCK spain TB Mayhck, U8 Navy Gatired),. who recently joined. the nys as" been appointed Ditestor Divison. “FR lthe Anwrrat wctuningafliate of International Telephone aid Telegraph Comporation PICKERING APPOINTS MORHAN han Exporting Corp, 438 Brosdvay New York City, has just’ been spp cxelnsion export repmestntatives for ing Co., Ine, nianufactarers of the Pieker= ing pickup, elie, and eartsidge npr duces and. Rao. Corporation, Clifton, | Address Changes | Subsceibers to AUDIO ENGINEERING ‘should ‘notify our Circulation Dept. St lease 3 weeks in advance ing “any change. in duress. The Dost. Oitice Dept. does not forward magazines seat to a wrong Sddress unless you" ps Additional poseaye. We ea not duplicate copies XU DIO ENGINEERING Seat to your old address Gia “tad new “address MUST be given, Circulation Dept AUDIO ENGINEERING | Radio Magazines, Inc. | 342 Madison Ave, New York 17, N.Y. $S9§54 9995599 9 495999669 59959 49959559495, NS ADVERTISING INDEX. . Amplifier Corp. of America. 40 Audio DevelopmentCo. 3 ‘Audio Engineering School. 40 Audio Equipment Sales... 35 Bordwell & McAlister, Inc....39 | | Camera Equipment Co. 33 | Concord Radio Corp 38 Electro Motive Mfg. Co, Ine..36 Electro-Voice, Inc 4 LeBel, C.J, 32 Racon Electric Co., Inc. Cover 2 RCA (Broadcasting Div.). Cover 4 Radio Masie Corp. 7 | Universal Microphone Co. 38 | U.S. Recording Co. 32 | Vibation Systems, re... 40 | Wells, Winston 22 Wrigley, Wm, Jr. Co et | AUDIO ENGINEERING DECEMBER, 1947Join An Outstanding Group Subscribe NOW to AUDIO ENGINEERING- the ONLY Journal for Sound Engineers Each issue covers 5 or more of these subjects 1—Broadeasting Our editorial policy has aroused tremendous interest and acclaim among engineers. promi- nent in the industry. We are proud to announce that co-operating with the editors of AUDIO. Tran ‘manufacturing and receiver 3—Sound-on-film equipment ENGINEERING are such outstanding author- 4—Recording (dsc, wite and tape) . 5—Public address shea ct ee oingisoun, sieht T—Acoustic treatment of studios, rooms, who are members of the editorial auditoriums, ete. advisory board. Because of the acute paper shortage we are compelled to limit the number of subscriptions we can accept. 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City State Occupation (sive tile) Fam Nowe,TYPE 70-D RCA HIGH-FIDELITY TRANSCRIPTION TURNTABLE Standard of the Studios-NEW EDITION Over 3000 units of this professional series are now # Type 70.D is designed specifically co meve Your needs for higher and higher reproduc tion quali in studio transcriptions, In this unit—lates ofthe "70 series"—you will find sll the exelusive features ofthe pre ious models =. and important nese ones. There's the wabersal lyhewelght pickup swith the dismondspoinesyloy.--unescelted for highvfdeliyy characteristics on either vertical or Isteral recordings. And the me hanical filters and spring clutch assembly that completely isolate the deiving: motor ftom the plawer and f-9 wel assembly. There's the heavy -cuty, ccnstant speed synchronous moist with athe del power you need for reco ling a repradne Ing at 3315 oF TH (9m. 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